Betty Reid Soskin’s Incredible Life Comes to the Stage in ‘Sign My Name to Freedom’
At 102 Years Old, Betty Reid Soskin Revisits Her Music From the Civil Rights Era
‘American Fiction’ Makes a Magnificent Mockery of Our Cultural Status Quo
Breaking Isolation and Building Bridges
‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism
New TV Shows Take on the Hazard of Working While Black
‘The Blind Side’ Drama Just Proves the Cheap, Meaningless Hope of White Savior Films
I've Spent My Career Explaining Race, But Hit a Wall With Montgomery Brawl Memes
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Simultaneously, she’s extremely clear: although her last name roughly translates to “soldier” in French, this is not her battle to fight.\u003c/p>\n\u003cp>“I’m pissed and proud of writing a book while juggling multiple jobs and health conditions,” says Dr. Cadet, whose work is multilayered. She encounters oppression in her writing, consulting, and personal life — and, with her Haitian and Louisianan roots, in her ancestry.\u003c/p>\n\u003cp>Despite all of this, Dr. Cadet still finds time to enjoy the finer things in life. She has a thing for fly accoutrements and fancies herself a wine aficionado. It makes sense: there has to be some balance to doing this work.\u003c/p>\n\u003cp>Dr. Cadet talked with the Rightnowish team about racism, ableism and ways one can go about fixing a broken system. Listen below.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3733902808\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">My name Cadet, it means soldier, so when I started marketing and branding my business, we are soldiers of change. But I had to realize, like, this military language is only adding into upholding values of white supremacy. Because white people don’t have to fight for their existence, but as Black people, we have to constantly do that. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up everyone, I’m your host Pendarvis Harshaw. Welcome to Rightnowish. Today our team is talking to Dr. Akilah Cadet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She’s one of those people who wears a bunch of hats: she’s the founder and CEO of the diversity, equity, and inclusion consulting firm, Change Cadet. She’s also an author, an advocate for people living with disabilities, and in her free time she’s also a sommelier. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Her book, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">White Supremacy is All Around: Notes from a Black Disabled Woman in a White World\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cspan style=\"font-weight: 400\">tackles what happened– and what didn’t happen– after “the summer of 2020”. So hang out as we jump into a colorful discussion about her book and what it’s like living with an invisible disability.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All of that, after this\u003c/span>\u003cb>. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Dr. Akilah Cadet thank you for joining us. How are you doing? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Great, because I’m here with you. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. In the building finally.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m so excited. I have been a fan of you for a while. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen:\u003c/b>\u003cspan style=\"font-weight: 400\"> Thank you\u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">And so now we get to have this, our time together.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s mutual. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">I understand people are going to listen. But this is for us and so anytime I get to be in the space with another boss Black person, it’s a FUBU moment and I’m happy to have it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I appreciate that. It resonates. Thank you, thank you, thank you, thank you. Congratulations. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You’re coming into the studio just days after your book launch. How does it feel to have your personal, intimate, witty, comical stories packaged and shared with the world? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, I am pissed and I’m proud. And the reason why I say I’m proud is because I wrote a whole ass book and there’s no ghostwriter. There’s no co-writer. I wrote this while working full time with my CEO job and then the other million hats I have because I am Caribbean when it comes down to it. And there’s two years of my life that I put in here in talking about stories from, you know, different parts of my life. Like, I had to go find old phones to get receipts because I’m a Virgo, like, do that whole thing. So I’m very proud of myself for doing that while navigating a lot of health stuff. There’s a few ER visits, there’s a lot of other health things that happened while I was writing this book, and some of that is in the book, so I’m very proud of myself. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m proud to have a book deal with Hachette, like a top five publisher. I’m proud to have received a six figure advance to write this book, as a debut author. That’s not an easy thing to do, so I have a lot to celebrate there. But I’m also pissed because the title of my book is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">White Supremacy Is All Around\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which is a great title. I love it. Go me! But I’m dealing with that with how this book is going out into the world and so that’s the part that’s really frustrating. I believe in the liberation of oppressed people, and some people do not, and they don’t want to support the book or, you know, white people aren’t necessarily ready to be comfortable being uncomfortable. And we have to remember that a lot of these folks are in positions of power, and they can determine where my book goes, how it’s seen, how it’s celebrated, and what list it’s on. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s meta. It’s you’re writing about something while living it and yeah, navigating it while talking about how to navigate it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet:\u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. And then I have to talk about it all the time. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cspan style=\"font-weight: 400\">In your first answer, you mentioned and it’s all throughout your book, identity. Identity plays a huge role, your Caribbean ancestry as well as you being a soft Black woman, learning that you can’t always be a soft Black woman, your father’s ancestry with Haitian roots, your mother in Sacramento, with roots back to the south. What has your heritage taught you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet:\u003c/b> \u003cspan style=\"font-weight: 400\">So I’d like to say that I am the transatlantic slave trade, and I think I’m the wonderful, perfect example of how white supremacy is all around with my ancestry, with my culture, with my identity. I am Haitian, French and Black. Being a first generation kid, I sometimes forget I’m like, I’m an American, and I will be disgusted by Americans \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">because I’m like, ‘What are you doing? Why would you do any of this?,’ and that’s because of my first generation upbringing, I was raised like an immigrant. I also know that being first generation Haitian, it’s why I’m this person who has an endless amount of perseverance. I don’t use the word fight because I don’t time for that, but I have that energy and I have that tenacity to show up and speak up and use my voice. That definitely comes from my Haitian heritage. On my mom’s side, my mom, her family is from a tiny town in Louisiana called Donaldsonville. And like, my grandmother could pass and get away with stuff, and, you know, the Great Migration came this way out to California, but my mom was on the COINTELPRO list. So \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[chuckles]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I get it from my mama, you know what I mean, like legit. And so, the ways in which I show up are directly tied to, you know, my, my ancestry. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In fact, Sacramento being our hometown, my grandfather had the first, Black history museum in Sacramento. But he, prior to that, he had a shoe store and above the shoe store was the Sacramento office for the Black Panthers. My mom was an award winning seamstress, and she would make dashikis and then the Black Panthers would wear her dashikis. They were just like the hot things, right, coming all around. So all of that comes through me. And even though I didn’t start my career, like, dismantling white supremacy, it eventually showed up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">It’s in you. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Your book is full of just like, the parenthetical thoughts that you have, are just exemplify how your brain works, where language is a thing through and through. And you’re very aware of the evolution of language. You sit at the intersection of culture, diversity, technology and you start the book with a note about how language evolves, almost like apologetically saying like, ay I know some years from now some of these words that I’m using might be outdated. Like why is that important to you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">So a lot of people don’t know that I’ve been a sensitivity editor for years. So I’ve been editing books for publishers and authors, and I look at the book to be able to make sure that story comes through. So if it’s a BIPOC, Black indigenous person of color author, white people may not understand some of the terminology or the cultural things that are coming up, So how are you breaking that down? If you are a white author, please don’t be racist, homophobic, transphobic or any of those things. So that’s why language is really important. And the more we dismantle white supremacy, and the more we are liberating ourselves from oppression, we’re going to be called something different. Right? Ultimately. So if you just look at the history of the language of Black people, there’s, there’s a lot of to getting to Black people. Like right now, still to this day, it’s like ‘African Amer-African-Ameri-African-American? or can I say Black? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">People don’t know what to do. “Black” a couple of years ago was capitalized, right. Because it’s a culture. “White” is still not capitalized. I don’t know why other people are…I do, White supremacy is all around. But, you know, it’s that type of thing. And so that’s why it’s important to be inclusive. But it also role models behavior people should have with constant learning and unlearning. And so where this book was finished in October of 2023, we’re going to have different language in October 2024, 2632. You know what I mean? And that plants a seed that, it’s like, yeah, I’m aware. And so whatever that is, do the math, and that’s what I’m calling them. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I love it. And again, it’s throughout, you know, you talk about like, other-abled.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Non-disabled.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Non-disabled.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. Yeah, yeah. So again, I have so many layers of intersectionality. I have Ehlers-Danlos syndrome, so if anyone’s listening, Ehlers-Danlos syndrome is a connective tissue disorder. My body doesn’t know what to do with collagen. My joints subluxate, go in and out or dislocate all the time from my fingers down to my toes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Your language around your disabilities… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">How has that evolved? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">The Ehlers- Danlos syndrome, I was born this way, in the words of Lady Gaga, but I wasn’t diagnosed until May 2021. And so learning how to understand another complex ableist system, a structure of white supremacy, which is the American Disabilities Act, has been infuriating on so many levels. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, for example, some airlines will say, “But how are you disabled?” That’s illegal. If I’m informing you I’m disabled, you have to accommodate me by law, no matter what I look like, what assisted device I’m doing. But again, people have to be deemed worthy of that. And for some people, they may feel overwhelmed with what I’m telling in the book, but guess the fuck what? I lived that life, and I have to live through all those different parts of intersectionality. So go on the journey [chuckles] right with me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so that’s why you see those teaching moments through language and through my experiences of, you can say, non-disabled, because disabled is not a bad word when people are saying they’re able bodied. I have the ability to do the same thing just like you, or maybe differently, but I’m gonna get the shit done. I have the ability, right? And so when people say non-disabled, it brings this word that people are challenged by into the zeitgeist, into the conversation. And it’s a way to create more awareness and also celebration of disability and the dynamic range that disability has. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m learning here, these teaching moments. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">It’s what I do. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">These teaching moments haven’t stopped. The first essay in the book, it centers around a huge teaching moment. The opening starts with a meeting in Bordeaux in France. And it revolves around an interaction that you have with a white woman who essentially wants to have a presentation that uses the words “n-ggas beefin” in the presentation. And you have to explicitly demand that that word no longer be used and it takes a while for that to click. And thereafter, it doesn’t even fully register as to who to central character being impacted by this discussion is. Whereas days after this white woman follows up in an email in saying that she is hurt. And you have to explain that again, this is the issue where you being the person hurt, are not even focused on in this discussion. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And I’m like, in reading this, right? I’m like, how did you get to this emotional, intellectual point? Because me, I would have been like, ‘man, let’s just step outside.’ So how did you get to that point where you could really break it down like that? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. So the first chapter of my book is called “White Women Are Exhausting.” It’s dramatic pause because they are. They pick and choose with their intersectionality. They pick and choose with how they want to show up. So in this case, I’ll give you a little bit of the backstory, I was asked to speak at a wine conference for women in Napa, like in May. And I went up there and, you know, magic, did my thing. All of a sudden everybody was like, “Who are you? We want you to do all the things for wine.” And so I was invited to be part of, and I’m still to this day part of this think tank where people determine the future state of fine wine. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They flew me out to Bordeaux. This is the first time in my entire existence of having this company that it was like the private driver and then the sign. It was like, ‘Oh, I, that’s, I’m the white person. I did it!” Right? And so I’m there specifically to bring in more language about diversity and thinking about how diversity is part of wine and fine wine. We have seen the wine landscape change, particularly with athletes, artists who like to buy wine and collect wine. And so younger people are into wine and the consumer is changing of who has wine. Like, the older folks who buy expensive wine, they’re dying. So they have to, it’s what happens, it’s just the natural thing, right? So they have to figure out who’s going to want to keep a sommelier in business, right, and drink this wine. So I go to a chateau. Naturally.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Naturally. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Naturally, you have to go to a chateau in Bordeaux. And there are only two Black people in this group of 60 plus individuals. And it was me and Julia Coney, who is, I’ve dubbed the Beyoncé of wine because she is, and wonderful and great. And and I was just like, ‘This is really white. This is really white.’ And so to go into the situation and be in a room, and I described it in the book, of like in a conversation about diversity, I literally was the only diversity. Everyone else was white. We didn’t even have an AAPI person, Asian American Pacific Islander, no one else. It was just me to represent diversity in a conversation about diversity and then to have her pull up her laptop and have those words so big. I was like, ‘Where are the cameras? Is this, is this like a, this is like a hazing thing, right?’ \u003cem>[laughs]\u003c/em> For me to, like, get into this whole thing. I was like, I can’t believe it. And I distinctly remember and I also talked about in the book, I had to keep pinching myself because I was like, ‘oh, no, I’m triggered.’ But I’m also not in a supportive space because I don’t know these folks. I’m new. I’m new into this whole environment. And there’s bigwigs around the table, including Eric Asimov, who’s the New York Times wine critic, who I was like, oh shit, I did- what? I didn’t fully know what I was getting into. I’m like, this is a big deal, right? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so for all of that to happen, including a white person saying, “Is wiggers better?” I had to pick and choose how I wanted to show up there. I was like, ‘I cannot get into that with you,’ definitely racist, but I don’t have time for that. But I had to use my voice as much as possible so she would stop perpetuating negative stereotypes because it was all about a conversation around Black people and chilled red wine. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So if you don’t know, Lambrusco is a fantastic chilled red wine, I highly recommend. It’s fizzy, it’s bubbly, it’s delicious. But there’s a movement around chilling red wines. And so this consumer wanted to know specifically how Black people thought and we have a culture and they’re looking at hashtags. And those hashtags brought that up. It wasn’t anything for her to do. And so I’m like you can truncate, you can blah, nope nope nope, nothing. But the most important thing is that the white guy had to say something and she’d listen to the white guy, which was Eric Asimov. And he knows, I talk about it all the time. He’s in the book. And that part was infuriating. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it was the 4th of July. Like, it was 4th of July weekend. So I was thrilled when I didn’t have to be in America. It was 2019. I was thrilled that I didn’t have to be in America and here I am, here I am, the country we bought our freedom from as a Haitian, you know, like here I am and I’m dealing with that. And I had to wait before I could see the one other Black person to feel validated, seen and heard, and then constantly be attacked for the rest of the time there by this white woman.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cspan style=\"font-weight: 400\">I’m like, navigating that, all of that, all those elements, all those different…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">All of those things, yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And then to have the composure, to say you need to go and learn something on your own as opposed to, you know, being vengeful or having some type of big reaction. How do you, how do you reach that point of composure? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Listen, there was a gala later that night and my outfit was f-cking fire, and I needed to focus on people liking my outfit. And I needed to choose myself, quite frankly, because I was already traumatized and triggered. Because anytime someone’s using the N-word, there’s ancestral trauma that comes up. I know, I have enslaved family members, but I also know because of white ancestry, where some of them went. Right, I can, I can figure out my entire life. My parents have done this work. My mom, COINTELPRO, I carry a lot of stuff. But more importantly, there’s so many people in this country, the United States of America, that was the last word they heard before they were lynched, burned alive. These are real things. And so it’s not a word to be played with. There’s too much out there to let you know, to not say the f-cking word. It’s not hard to do it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And this particular woman, who I named Karen. She lives in Atlanta, the land of the A-town stomp. There’s so many things that are happening there, “Real Housewives of Atlanta,” you see all the Black people. You have all the layers of it. You have all the experience and exposure to know what to say and what not to say. And so it was a choice. She chose to harm me because she also called me out, said “Akilah, I would like your feedback on this.” Do you know what I mean? So it’s just like it’s that type of stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">But I will teach someone a lesson because I don’t have the privilege of sitting in that position of harm, she does. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t have that privilege. So I had to keep moving forward. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What I’m gathering is like, choose your battles because you’re fighting a bigger war, or you are involved in a bigger war. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet:\u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, but also like my name Cadet, it means soldier. And so when I started marketing and branding my business, we’re soldiers of change, right? Which I love. So great, right, fantastic. But then I was like, I’m no one’s soldier. Am I a survivor like Destiny’s Child? Yes. But I had to realize, like, this military language is only adding into upholding values of white supremacy because white people don’t have to fight for their existence. White people don’t have to go to the battlefield to prove their existence, to get a job or, I don’t know, check in at a hotel or drive their car or whatever. You know, they don’t have to do that. They don’t have to go out into the streets and be like “We need people to stop killing us.” They don’t have to do that. But as Black people, we have to constantly do that. As, as BIPOC people we have to constantly do that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">But given that given that constant like pressure, that’s part of the reason I don’t fully believe in DEI. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet:\u003c/b> \u003cspan style=\"font-weight: 400\">I don’t either.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">But you do the work. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">I believe in belonging.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Belonging. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">I believe in belonging. Diversity, equity, inclusion, accountability or accessibility or action, there’s so many acronym soups when it comes to DEI. DEI is just straight up performative. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">It is. You know how I know? Because May 25th, 2020 happened, it was the murder of George Floyd. And it was a holiday, it’s also my mom’s birthday, and then May 26th, all of a sudden, endless amount of emails. All of a sudden people want to hear what I have to say. And I will always do my work as a doctor of leadership and organizational behavior for oppressed people because they’re the ones that have the hardest time in workplaces and spaces for sure. But I don’t just do diversity.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> Restructuring? Got you. Executive coaching for the white guy? Umm hmm I can do that. Strategic planning? Absolutely. But DEI and that performative nature of what I call the “summer of allyship” and there’s a chapter in the book, is a direct response to people not wanting to be viewed as racist. And so we’re seeing that performative behavior that has happened. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The Summer of Allyship” chapter breaks it down very beautifully, so I highly recommend everyone reads it. But where we are right now with diversity is it’s being attacked. Right? So we’re seeing states and counties removed DEI funding and all this other stuff, which shows you it doesn’t matter, which is why I talk about belonging. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As a Black disabled woman, the only place I feel like I belong is my home because I carry so much intersectionality.\u003c/span> \u003cspan style=\"font-weight: 400\">Once I go out the door, you know, it’s like, okay, where’s a parking spot? Will I be able to make it further or not? Can I park in ADA? Will there be an ADA parking spot? Is someone not going to help me do the thing, or am I just going to get good old fashioned sexism or racism, right, as a result of that. That happens all the time. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> What does success look like for you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you for asking. So, right now, success looks like the book coming out on February 6th. Checked that off, success, that happened. And then it looks like me making it through 12 stops between February 6th and February 29th. And I had to have really small, little benchmarks of success, because a lot of my time in interviews, on this book, centered around this book. But if I can get that person who feels valued and seen in the book, that’s also the third part of success for me that they have that. If I can get that white person who’s like, “I’ve learned so much and I’m showing up differently because of your book,” that is success for me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You have a big event coming up at the de Young this spring?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">I do.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Tell me more about it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. So, because I have nothing else to do, I have been filmed for the past five months to have a documentary done on me. And so the interesting thing, I was like, ‘why? I am not interesting,’ but apparently I am, which I still don’t fully understand, but “Represent Collaborative” approached me to do a documentary. I’m also their chief creative officer, but they approached me because they received some funding, and they wanted to tell the story of me in this book. And so, in April, we will be having the California premiere of my documentary called “Sounds About White: The Untold Story of the DEI Expert”. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So it starts with the pandemic and the murder of George Floyd, and we’re following what my life has been like since then, how I’ve given my heart and soul, the ups and downs, the highs, the lows, the Forbes, the magazines, you know, the amounts of money that’s coming in. And you’re seeing how much money I’ve made, how much money I’ve lost. You’re seeing everything. You’re seeing how it affects my mind, body, spirit and soul, because there are stories about DEI consultants, experts, leaders that are written, but we haven’t had a visual display of what it’s been like. You see me in the hospital. You see me on these planes dealing with shit. You see me everywhere of how I, with every right to not have to show up to do this work as a Black disabled woman, still show up to do this work. I get hate from everyone and everywhere. And I would just love to be loved. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">You’re welcome. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Big, big thank you to Dr. Akilah Cadet. Doing the work isn’t easy and I know it takes a toll on you. So thank you. Thank you for your efforts, and hats off for being fly while doing it all. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you would like to learn more about Dr. Akilah Cadet and her book, I’d suggest checking out her site: changecadet.com. That’s spelled change C-H-A-N-G-E,Cadet C-A-D-E-T\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She can also be found on social media, her Instagram handle is also: ChangeCadet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. It was produced by Marisol Medina-Cadena and Maya Cueva. Chris Hambrick held it down for the edits on this one. Our engineer is Christopher Beale and Sheree Bishop is the Rightnowish intern. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun , Holly Kernan, Xorje Olivares, Cesar Saldaña, and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank you all for listening!\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And a quick reminder, KQED is a listener supported station, and getting further support from you would be much appreciated. If you’re financially able, make a donation at donate.kqed.org. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Sounds About White: The Untold Story of the DEI Expert’, a documentary on Dr. Akilah “Change” Cadet’s life and work, screens at the de Young Museum in San Francisco on Saturday, April 13, from 2 p.m.–3:30 p.m. \u003ca href=\"https://www.famsf.org/events/akilah-cadet-documentary-screening-book-conversation\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Dr. Akilah Cadet discusses her book \"White Supremacy Is All Around: Notes from a Black Disabled Woman in a White World.\"","status":"publish","parent":0,"modified":1712803820,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":105,"wordCount":5373},"headData":{"title":"The Chronic Pain Of White Supremacy | KQED","description":"In her book White Supremacy is All Around: Notes from a Black Disabled Woman in a White World, Dr. Akilah Cadet brings the reader into her life as a Black woman living with a disability who recognizes that oppressive forces are as constant as her chronic pain.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"In her book White Supremacy is All Around: Notes from a Black Disabled Woman in a White World, Dr. Akilah Cadet brings the reader into her life as a Black woman living with a disability who recognizes that oppressive forces are as constant as her chronic pain.","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Chronic Pain Of White Supremacy","datePublished":"2024-04-11T10:00:16.000Z","dateModified":"2024-04-11T02:50:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC3733902808.mp3?updated=1712803909","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955683/rightnowish-akilah-cadet-author-white-supremacy-is-all-around","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>In her book \u003cem>White Supremacy Is All Around: Notes from a Black Disabled Woman in a White World\u003c/em>, \u003ca href=\"https://linktr.ee/changecadet\" target=\"_blank\" rel=\"noopener\">Dr. Akilah Cadet\u003c/a> brings the reader into her life as a Black woman living with a disability who recognizes that oppressive forces are as constant as her chronic pain.\u003c/p>\n\u003cp>With witty anecdotes and painful personal tales, Cadet, founder of the diversity consulting firm \u003ca href=\"https://www.changecadet.com/\" target=\"_blank\" rel=\"noopener\">Change Consulting\u003c/a>, addresses glaring issues like police brutality and racist microaggressions, and identifies the people who play a hand in maintaining them. Simultaneously, she’s extremely clear: although her last name roughly translates to “soldier” in French, this is not her battle to fight.\u003c/p>\n\u003cp>“I’m pissed and proud of writing a book while juggling multiple jobs and health conditions,” says Dr. Cadet, whose work is multilayered. She encounters oppression in her writing, consulting, and personal life — and, with her Haitian and Louisianan roots, in her ancestry.\u003c/p>\n\u003cp>Despite all of this, Dr. Cadet still finds time to enjoy the finer things in life. She has a thing for fly accoutrements and fancies herself a wine aficionado. It makes sense: there has to be some balance to doing this work.\u003c/p>\n\u003cp>Dr. Cadet talked with the Rightnowish team about racism, ableism and ways one can go about fixing a broken system. Listen below.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3733902808\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">My name Cadet, it means soldier, so when I started marketing and branding my business, we are soldiers of change. But I had to realize, like, this military language is only adding into upholding values of white supremacy. Because white people don’t have to fight for their existence, but as Black people, we have to constantly do that. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> What’s up everyone, I’m your host Pendarvis Harshaw. Welcome to Rightnowish. Today our team is talking to Dr. Akilah Cadet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She’s one of those people who wears a bunch of hats: she’s the founder and CEO of the diversity, equity, and inclusion consulting firm, Change Cadet. She’s also an author, an advocate for people living with disabilities, and in her free time she’s also a sommelier. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Her book, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">White Supremacy is All Around: Notes from a Black Disabled Woman in a White World\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003cspan style=\"font-weight: 400\">tackles what happened– and what didn’t happen– after “the summer of 2020”. So hang out as we jump into a colorful discussion about her book and what it’s like living with an invisible disability.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All of that, after this\u003c/span>\u003cb>. \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Dr. Akilah Cadet thank you for joining us. How are you doing? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Great, because I’m here with you. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. In the building finally.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m so excited. I have been a fan of you for a while. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen:\u003c/b>\u003cspan style=\"font-weight: 400\"> Thank you\u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">And so now we get to have this, our time together.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pen: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s mutual. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">I understand people are going to listen. But this is for us and so anytime I get to be in the space with another boss Black person, it’s a FUBU moment and I’m happy to have it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I appreciate that. It resonates. Thank you, thank you, thank you, thank you. Congratulations. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You’re coming into the studio just days after your book launch. How does it feel to have your personal, intimate, witty, comical stories packaged and shared with the world? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">You know, I am pissed and I’m proud. And the reason why I say I’m proud is because I wrote a whole ass book and there’s no ghostwriter. There’s no co-writer. I wrote this while working full time with my CEO job and then the other million hats I have because I am Caribbean when it comes down to it. And there’s two years of my life that I put in here in talking about stories from, you know, different parts of my life. Like, I had to go find old phones to get receipts because I’m a Virgo, like, do that whole thing. So I’m very proud of myself for doing that while navigating a lot of health stuff. There’s a few ER visits, there’s a lot of other health things that happened while I was writing this book, and some of that is in the book, so I’m very proud of myself. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m proud to have a book deal with Hachette, like a top five publisher. I’m proud to have received a six figure advance to write this book, as a debut author. That’s not an easy thing to do, so I have a lot to celebrate there. But I’m also pissed because the title of my book is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">White Supremacy Is All Around\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which is a great title. I love it. Go me! But I’m dealing with that with how this book is going out into the world and so that’s the part that’s really frustrating. I believe in the liberation of oppressed people, and some people do not, and they don’t want to support the book or, you know, white people aren’t necessarily ready to be comfortable being uncomfortable. And we have to remember that a lot of these folks are in positions of power, and they can determine where my book goes, how it’s seen, how it’s celebrated, and what list it’s on. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s meta. It’s you’re writing about something while living it and yeah, navigating it while talking about how to navigate it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet:\u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, yeah. And then I have to talk about it all the time. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cspan style=\"font-weight: 400\">In your first answer, you mentioned and it’s all throughout your book, identity. Identity plays a huge role, your Caribbean ancestry as well as you being a soft Black woman, learning that you can’t always be a soft Black woman, your father’s ancestry with Haitian roots, your mother in Sacramento, with roots back to the south. What has your heritage taught you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet:\u003c/b> \u003cspan style=\"font-weight: 400\">So I’d like to say that I am the transatlantic slave trade, and I think I’m the wonderful, perfect example of how white supremacy is all around with my ancestry, with my culture, with my identity. I am Haitian, French and Black. Being a first generation kid, I sometimes forget I’m like, I’m an American, and I will be disgusted by Americans \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">because I’m like, ‘What are you doing? Why would you do any of this?,’ and that’s because of my first generation upbringing, I was raised like an immigrant. I also know that being first generation Haitian, it’s why I’m this person who has an endless amount of perseverance. I don’t use the word fight because I don’t time for that, but I have that energy and I have that tenacity to show up and speak up and use my voice. That definitely comes from my Haitian heritage. On my mom’s side, my mom, her family is from a tiny town in Louisiana called Donaldsonville. And like, my grandmother could pass and get away with stuff, and, you know, the Great Migration came this way out to California, but my mom was on the COINTELPRO list. So \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[chuckles]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I get it from my mama, you know what I mean, like legit. And so, the ways in which I show up are directly tied to, you know, my, my ancestry. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In fact, Sacramento being our hometown, my grandfather had the first, Black history museum in Sacramento. But he, prior to that, he had a shoe store and above the shoe store was the Sacramento office for the Black Panthers. My mom was an award winning seamstress, and she would make dashikis and then the Black Panthers would wear her dashikis. They were just like the hot things, right, coming all around. So all of that comes through me. And even though I didn’t start my career, like, dismantling white supremacy, it eventually showed up.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">It’s in you. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Your book is full of just like, the parenthetical thoughts that you have, are just exemplify how your brain works, where language is a thing through and through. And you’re very aware of the evolution of language. You sit at the intersection of culture, diversity, technology and you start the book with a note about how language evolves, almost like apologetically saying like, ay I know some years from now some of these words that I’m using might be outdated. Like why is that important to you?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">So a lot of people don’t know that I’ve been a sensitivity editor for years. So I’ve been editing books for publishers and authors, and I look at the book to be able to make sure that story comes through. So if it’s a BIPOC, Black indigenous person of color author, white people may not understand some of the terminology or the cultural things that are coming up, So how are you breaking that down? If you are a white author, please don’t be racist, homophobic, transphobic or any of those things. So that’s why language is really important. And the more we dismantle white supremacy, and the more we are liberating ourselves from oppression, we’re going to be called something different. Right? Ultimately. So if you just look at the history of the language of Black people, there’s, there’s a lot of to getting to Black people. Like right now, still to this day, it’s like ‘African Amer-African-Ameri-African-American? or can I say Black? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">People don’t know what to do. “Black” a couple of years ago was capitalized, right. Because it’s a culture. “White” is still not capitalized. I don’t know why other people are…I do, White supremacy is all around. But, you know, it’s that type of thing. And so that’s why it’s important to be inclusive. But it also role models behavior people should have with constant learning and unlearning. And so where this book was finished in October of 2023, we’re going to have different language in October 2024, 2632. You know what I mean? And that plants a seed that, it’s like, yeah, I’m aware. And so whatever that is, do the math, and that’s what I’m calling them. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, I love it. And again, it’s throughout, you know, you talk about like, other-abled.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Non-disabled.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Non-disabled.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. Yeah, yeah. So again, I have so many layers of intersectionality. I have Ehlers-Danlos syndrome, so if anyone’s listening, Ehlers-Danlos syndrome is a connective tissue disorder. My body doesn’t know what to do with collagen. My joints subluxate, go in and out or dislocate all the time from my fingers down to my toes. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Your language around your disabilities… \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet:\u003c/b>\u003cspan style=\"font-weight: 400\"> Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">How has that evolved? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">The Ehlers- Danlos syndrome, I was born this way, in the words of Lady Gaga, but I wasn’t diagnosed until May 2021. And so learning how to understand another complex ableist system, a structure of white supremacy, which is the American Disabilities Act, has been infuriating on so many levels. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, for example, some airlines will say, “But how are you disabled?” That’s illegal. If I’m informing you I’m disabled, you have to accommodate me by law, no matter what I look like, what assisted device I’m doing. But again, people have to be deemed worthy of that. And for some people, they may feel overwhelmed with what I’m telling in the book, but guess the fuck what? I lived that life, and I have to live through all those different parts of intersectionality. So go on the journey [chuckles] right with me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so that’s why you see those teaching moments through language and through my experiences of, you can say, non-disabled, because disabled is not a bad word when people are saying they’re able bodied. I have the ability to do the same thing just like you, or maybe differently, but I’m gonna get the shit done. I have the ability, right? And so when people say non-disabled, it brings this word that people are challenged by into the zeitgeist, into the conversation. And it’s a way to create more awareness and also celebration of disability and the dynamic range that disability has. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m learning here, these teaching moments. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> [laughs] \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">It’s what I do. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">These teaching moments haven’t stopped. The first essay in the book, it centers around a huge teaching moment. The opening starts with a meeting in Bordeaux in France. And it revolves around an interaction that you have with a white woman who essentially wants to have a presentation that uses the words “n-ggas beefin” in the presentation. And you have to explicitly demand that that word no longer be used and it takes a while for that to click. And thereafter, it doesn’t even fully register as to who to central character being impacted by this discussion is. Whereas days after this white woman follows up in an email in saying that she is hurt. And you have to explain that again, this is the issue where you being the person hurt, are not even focused on in this discussion. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And I’m like, in reading this, right? I’m like, how did you get to this emotional, intellectual point? Because me, I would have been like, ‘man, let’s just step outside.’ So how did you get to that point where you could really break it down like that? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. So the first chapter of my book is called “White Women Are Exhausting.” It’s dramatic pause because they are. They pick and choose with their intersectionality. They pick and choose with how they want to show up. So in this case, I’ll give you a little bit of the backstory, I was asked to speak at a wine conference for women in Napa, like in May. And I went up there and, you know, magic, did my thing. All of a sudden everybody was like, “Who are you? We want you to do all the things for wine.” And so I was invited to be part of, and I’m still to this day part of this think tank where people determine the future state of fine wine. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">They flew me out to Bordeaux. This is the first time in my entire existence of having this company that it was like the private driver and then the sign. It was like, ‘Oh, I, that’s, I’m the white person. I did it!” Right? And so I’m there specifically to bring in more language about diversity and thinking about how diversity is part of wine and fine wine. We have seen the wine landscape change, particularly with athletes, artists who like to buy wine and collect wine. And so younger people are into wine and the consumer is changing of who has wine. Like, the older folks who buy expensive wine, they’re dying. So they have to, it’s what happens, it’s just the natural thing, right? So they have to figure out who’s going to want to keep a sommelier in business, right, and drink this wine. So I go to a chateau. Naturally.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Naturally. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Naturally, you have to go to a chateau in Bordeaux. And there are only two Black people in this group of 60 plus individuals. And it was me and Julia Coney, who is, I’ve dubbed the Beyoncé of wine because she is, and wonderful and great. And and I was just like, ‘This is really white. This is really white.’ And so to go into the situation and be in a room, and I described it in the book, of like in a conversation about diversity, I literally was the only diversity. Everyone else was white. We didn’t even have an AAPI person, Asian American Pacific Islander, no one else. It was just me to represent diversity in a conversation about diversity and then to have her pull up her laptop and have those words so big. I was like, ‘Where are the cameras? Is this, is this like a, this is like a hazing thing, right?’ \u003cem>[laughs]\u003c/em> For me to, like, get into this whole thing. I was like, I can’t believe it. And I distinctly remember and I also talked about in the book, I had to keep pinching myself because I was like, ‘oh, no, I’m triggered.’ But I’m also not in a supportive space because I don’t know these folks. I’m new. I’m new into this whole environment. And there’s bigwigs around the table, including Eric Asimov, who’s the New York Times wine critic, who I was like, oh shit, I did- what? I didn’t fully know what I was getting into. I’m like, this is a big deal, right? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so for all of that to happen, including a white person saying, “Is wiggers better?” I had to pick and choose how I wanted to show up there. I was like, ‘I cannot get into that with you,’ definitely racist, but I don’t have time for that. But I had to use my voice as much as possible so she would stop perpetuating negative stereotypes because it was all about a conversation around Black people and chilled red wine. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So if you don’t know, Lambrusco is a fantastic chilled red wine, I highly recommend. It’s fizzy, it’s bubbly, it’s delicious. But there’s a movement around chilling red wines. And so this consumer wanted to know specifically how Black people thought and we have a culture and they’re looking at hashtags. And those hashtags brought that up. It wasn’t anything for her to do. And so I’m like you can truncate, you can blah, nope nope nope, nothing. But the most important thing is that the white guy had to say something and she’d listen to the white guy, which was Eric Asimov. And he knows, I talk about it all the time. He’s in the book. And that part was infuriating. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it was the 4th of July. Like, it was 4th of July weekend. So I was thrilled when I didn’t have to be in America. It was 2019. I was thrilled that I didn’t have to be in America and here I am, here I am, the country we bought our freedom from as a Haitian, you know, like here I am and I’m dealing with that. And I had to wait before I could see the one other Black person to feel validated, seen and heard, and then constantly be attacked for the rest of the time there by this white woman.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b> \u003cspan style=\"font-weight: 400\">I’m like, navigating that, all of that, all those elements, all those different…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">All of those things, yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And then to have the composure, to say you need to go and learn something on your own as opposed to, you know, being vengeful or having some type of big reaction. How do you, how do you reach that point of composure? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Listen, there was a gala later that night and my outfit was f-cking fire, and I needed to focus on people liking my outfit. And I needed to choose myself, quite frankly, because I was already traumatized and triggered. Because anytime someone’s using the N-word, there’s ancestral trauma that comes up. I know, I have enslaved family members, but I also know because of white ancestry, where some of them went. Right, I can, I can figure out my entire life. My parents have done this work. My mom, COINTELPRO, I carry a lot of stuff. But more importantly, there’s so many people in this country, the United States of America, that was the last word they heard before they were lynched, burned alive. These are real things. And so it’s not a word to be played with. There’s too much out there to let you know, to not say the f-cking word. It’s not hard to do it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And this particular woman, who I named Karen. She lives in Atlanta, the land of the A-town stomp. There’s so many things that are happening there, “Real Housewives of Atlanta,” you see all the Black people. You have all the layers of it. You have all the experience and exposure to know what to say and what not to say. And so it was a choice. She chose to harm me because she also called me out, said “Akilah, I would like your feedback on this.” Do you know what I mean? So it’s just like it’s that type of stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">But I will teach someone a lesson because I don’t have the privilege of sitting in that position of harm, she does. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">I don’t have that privilege. So I had to keep moving forward. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What I’m gathering is like, choose your battles because you’re fighting a bigger war, or you are involved in a bigger war. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet:\u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, but also like my name Cadet, it means soldier. And so when I started marketing and branding my business, we’re soldiers of change, right? Which I love. So great, right, fantastic. But then I was like, I’m no one’s soldier. Am I a survivor like Destiny’s Child? Yes. But I had to realize, like, this military language is only adding into upholding values of white supremacy because white people don’t have to fight for their existence. White people don’t have to go to the battlefield to prove their existence, to get a job or, I don’t know, check in at a hotel or drive their car or whatever. You know, they don’t have to do that. They don’t have to go out into the streets and be like “We need people to stop killing us.” They don’t have to do that. But as Black people, we have to constantly do that. As, as BIPOC people we have to constantly do that. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">But given that given that constant like pressure, that’s part of the reason I don’t fully believe in DEI. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet:\u003c/b> \u003cspan style=\"font-weight: 400\">I don’t either.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">But you do the work. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">I believe in belonging.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Belonging. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">I believe in belonging. Diversity, equity, inclusion, accountability or accessibility or action, there’s so many acronym soups when it comes to DEI. DEI is just straight up performative. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">It is. You know how I know? Because May 25th, 2020 happened, it was the murder of George Floyd. And it was a holiday, it’s also my mom’s birthday, and then May 26th, all of a sudden, endless amount of emails. All of a sudden people want to hear what I have to say. And I will always do my work as a doctor of leadership and organizational behavior for oppressed people because they’re the ones that have the hardest time in workplaces and spaces for sure. But I don’t just do diversity.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> Restructuring? Got you. Executive coaching for the white guy? Umm hmm I can do that. Strategic planning? Absolutely. But DEI and that performative nature of what I call the “summer of allyship” and there’s a chapter in the book, is a direct response to people not wanting to be viewed as racist. And so we’re seeing that performative behavior that has happened. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The Summer of Allyship” chapter breaks it down very beautifully, so I highly recommend everyone reads it. But where we are right now with diversity is it’s being attacked. Right? So we’re seeing states and counties removed DEI funding and all this other stuff, which shows you it doesn’t matter, which is why I talk about belonging. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As a Black disabled woman, the only place I feel like I belong is my home because I carry so much intersectionality.\u003c/span> \u003cspan style=\"font-weight: 400\">Once I go out the door, you know, it’s like, okay, where’s a parking spot? Will I be able to make it further or not? Can I park in ADA? Will there be an ADA parking spot? Is someone not going to help me do the thing, or am I just going to get good old fashioned sexism or racism, right, as a result of that. That happens all the time. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> What does success look like for you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you for asking. So, right now, success looks like the book coming out on February 6th. Checked that off, success, that happened. And then it looks like me making it through 12 stops between February 6th and February 29th. And I had to have really small, little benchmarks of success, because a lot of my time in interviews, on this book, centered around this book. But if I can get that person who feels valued and seen in the book, that’s also the third part of success for me that they have that. If I can get that white person who’s like, “I’ve learned so much and I’m showing up differently because of your book,” that is success for me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You have a big event coming up at the de Young this spring?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">I do.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Tell me more about it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. So, because I have nothing else to do, I have been filmed for the past five months to have a documentary done on me. And so the interesting thing, I was like, ‘why? I am not interesting,’ but apparently I am, which I still don’t fully understand, but “Represent Collaborative” approached me to do a documentary. I’m also their chief creative officer, but they approached me because they received some funding, and they wanted to tell the story of me in this book. And so, in April, we will be having the California premiere of my documentary called “Sounds About White: The Untold Story of the DEI Expert”. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So it starts with the pandemic and the murder of George Floyd, and we’re following what my life has been like since then, how I’ve given my heart and soul, the ups and downs, the highs, the lows, the Forbes, the magazines, you know, the amounts of money that’s coming in. And you’re seeing how much money I’ve made, how much money I’ve lost. You’re seeing everything. You’re seeing how it affects my mind, body, spirit and soul, because there are stories about DEI consultants, experts, leaders that are written, but we haven’t had a visual display of what it’s been like. You see me in the hospital. You see me on these planes dealing with shit. You see me everywhere of how I, with every right to not have to show up to do this work as a Black disabled woman, still show up to do this work. I get hate from everyone and everywhere. And I would just love to be loved. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Dr. Akilah Cadet: \u003c/b>\u003cspan style=\"font-weight: 400\">You’re welcome. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Big, big thank you to Dr. Akilah Cadet. Doing the work isn’t easy and I know it takes a toll on you. So thank you. Thank you for your efforts, and hats off for being fly while doing it all. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you would like to learn more about Dr. Akilah Cadet and her book, I’d suggest checking out her site: changecadet.com. That’s spelled change C-H-A-N-G-E,Cadet C-A-D-E-T\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She can also be found on social media, her Instagram handle is also: ChangeCadet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. It was produced by Marisol Medina-Cadena and Maya Cueva. Chris Hambrick held it down for the edits on this one. Our engineer is Christopher Beale and Sheree Bishop is the Rightnowish intern. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun , Holly Kernan, Xorje Olivares, Cesar Saldaña, and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank you all for listening!\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And a quick reminder, KQED is a listener supported station, and getting further support from you would be much appreciated. If you’re financially able, make a donation at donate.kqed.org. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Sounds About White: The Untold Story of the DEI Expert’, a documentary on Dr. Akilah “Change” Cadet’s life and work, screens at the de Young Museum in San Francisco on Saturday, April 13, from 2 p.m.–3:30 p.m. \u003ca href=\"https://www.famsf.org/events/akilah-cadet-documentary-screening-book-conversation\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>=\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955683/rightnowish-akilah-cadet-author-white-supremacy-is-all-around","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_73"],"tags":["arts_22070","arts_1210","arts_22071","arts_4027","arts_10278","arts_3652"],"featImg":"arts_13955689","label":"arts_8720"},"arts_13955108":{"type":"posts","id":"arts_13955108","meta":{"index":"posts_1591205157","site":"arts","id":"13955108","score":null,"sort":[1711997790000]},"guestAuthors":[],"slug":"betty-reid-soskin-stage-play-z-space-sign-my-name-to-freedom-review","title":"Betty Reid Soskin’s Incredible Life Comes to the Stage in ‘Sign My Name to Freedom’","publishDate":1711997790,"format":"aside","headTitle":"Betty Reid Soskin’s Incredible Life Comes to the Stage in ‘Sign My Name to Freedom’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13955111\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The four Betty Reid Soskins of ‘Sign My Name to Freedom’ (L–R): Cathleen Riddley, Aidaa Peerzada, Lucca Troutman and Tierra Allen. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not one, not two, but four different Betty Reid Soskins take the stage in \u003cem>Sign My Name to Freedom\u003c/em>, the world-premiere play that opened in San Francisco Friday night. And honestly, four still seems inadequate for its fascinating, multifaceted subject.\u003c/p>\n\u003cp>As this excellent and affecting production demonstrates, \u003ca href=\"https://www.kqed.org/news/tag/betty-reid-soskin\">Betty Reid Soskin\u003c/a>, the woman best known as a \u003ca href=\"https://www.kqed.org/news/11914312/betty-reid-soskin-at-100-the-life-of-the-nations-oldest-park-ranger-in-her-own-words\">park ranger\u003c/a> at Richmond’s \u003ca href=\"https://www.nps.gov/rori/index.htm\">Rosie the Riveter National Historic Park\u003c/a>, has lived at least a dozen lives, if not more. Hers is a quintessentially Bay Area story, encompassing the Great Migration, grassroots arts and political activism, experiences of thinly veiled liberal racism, the independent hustle, the trap of the suburbs, dancing the pain away and, yes, doom-loop crime. \u003c/p>\n\u003cfigure id=\"attachment_13955110\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Little Betty (Tierra Allen) learns where life will take her from the 95-year-old Betty Reid Soskin (Cathleen Riddley) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The play opens with a robber breaking into the modest apartment of Soskin (Cathleen Riddley) who, at 95 years of age, adroitly fends him off. Her stocktaking of stolen items with her fellow park ranger friend Renee (Jasmine Milan Williams) turns into an inventory of her life. Soon, Little Betty (Tierra Allen) shows up for a reenactment, replete with billowy blue fabric and aerial dancers, of the hurricane of 1927 that blew Soskin’s family all the way from New Orleans to Oakland.\u003c/p>\n\u003cp>Little Betty and older Betty begin talking, in awe of each other: Little Betty for the places she’ll go, and older Betty for where she’s been. Throughout the mostly chronological telling of Soskin’s life, playing out like a beautifully written memoir on the stage, we meet two more Soskins. There’s Married Betty, who overcomes constant challenges, and, occupying much of Act Two, the songwriting, speech-delivering Revolutionary Betty. \u003c/p>\n\u003cfigure id=\"attachment_13955115\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Lucca Troutman (Revolutionary Betty), Cathleen Riddley (Betty Reid Soskin), Tierra Allen (Little Betty) and Aidaa Peerzada (Married Betty) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an achievement by playwright Michael Gene Sullivan and director Elizabeth Carter that this approach doesn’t get too crowded, or confuse the audience. By the end of the play, when these four Bettys have told Soskin’s remarkable story, their group conversation arrives at a mutual understanding of a life and what it’s lived for. Sullivan’s dialogue is smart but not showy, thoughtfully considered and frequently very funny. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13952570']As Soskin, Riddley has her work cut out for her. Assessing her 95 years, she movingly retells prior challenges and regrets while standing strong. Allen starts out with a bit of childhood overplaying for Little Betty, but grows into the indispensable role. \u003c/p>\n\u003cp>Married Betty (Aidaa Peerzada) faces the most ups and downs, marrying music impresario Mel Reid, adopting one child and having three more, and raising them while running the family record store, \u003ca href=\"https://www.kqed.org/arts/13850266/reids-records-berkeley-gospel-mainstay-to-close-after-75-years\">Reid’s Records\u003c/a> (if you thought Too Short was the first to sell records out of the trunk, think again). Married Betty moves to Walnut Creek and fights in vain at a school board meeting to change its white supremacist culture, and eventually divorces after Mel blows their money on gambling and other women. \u003c/p>\n\u003cfigure id=\"attachment_13955117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Jeremy Brooks (Dancer/Ensemble), Marc Cunanan Chappelle (Dancer/Ensemble), Veronica Blair (Aerialist/Dancer), Nina Sawant (Aerialist/Dancer), Ahja Henry (Dance Captain/Dancer/Ensemble) and Markaila Dyson (Dancer/Ensemble) dance at a house party in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter Revolutionary Betty (Lucca Troutman), who stands on Soskin’s kitchen table to announce her new identity: folk singing Civil Rights activist. When Married Betty explains that she moved to Walnut Creek for her family, Revolutionary Betty retorts: “If you gave a damn about your family, you wouldn’t’ve moved them out here with all these threaten-to-burn-your-house-down-’cause-they’re-suburban-crackers in the first place!”\u003c/p>\n\u003cp>Soskin’s songs — \u003ca href=\"https://www.kqed.org/arts/13952570/betty-reid-soskin-music-documentary-sign-my-name-to-freedom\">recently unearthed on reel-to-reel tapes\u003c/a> stored in a box for decades — address police brutality, Black identity, and the spate of church burnings in the South, with shades of Odetta and Nina Simone. After we learn that Soskin stops writing songs amid the crack epidemic in order to save the family record store, we hear one of her most beautiful compositions, with complex jazz chords played on guitar by Troutman.\u003c/p>\n\u003cfigure id=\"attachment_13955118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lucca Troutman (Revolutionary Betty) plays and sings an original song by Betty Reid Soskin as Tierra Allen (Little Betty) listens in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Additional songs by the show’s music director Daniel Savio propel scenes of tragedy and joy. A lonely saxophone soundtracks a ship explosion in \u003ca href=\"https://www.kqed.org/news/142082/how-a-deadly-explosion-70-years-ago-led-to-integrating-the-navy\">Port Chicago\u003c/a> that kills 320 people, including the predominantly Black servicemen chosen to handle dangerous ammunition and torpedoes. And an upbeat jazz number enlivens a house party that allows Laura Elaine Ellis’ choreography, and standout dancers Ahja Henry and Marc Cunanan Chappelle, to shine. \u003c/p>\n\u003cp>If anyone out there wants to throw a million dollars at this play, please do; a higher production budget could give it the polish it deserves. Mikiko Uesugi’s set design is sparse, just a bed, dresser, table and door, and the offstage band does an able job with the constraints of their size. Both should have more texture. Especially because, aside from a recurring, not-fully-fleshed-out thread involving Soskin’s son David (and a tad too much interpretive aerial dance for my personal tastes), the play itself is nearly flawless. \u003c/p>\n\u003cfigure id=\"attachment_13955114\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jeremy Brooks (Dancer/Ensemble), Ahja Henry (Dance Captain/Dancer/Ensemble), Veronica Blair (Aerialist/Dancer), Aidaa Peerzada (Married Betty), Marc Cunanan Chappelle (Dancer/Ensemble), Tierra Allen (Little Betty), William Brewton Fowler Jr. (Aerialist/Dancer), Nina Sawant (Aerialist/Dancer) and Lucca Troutman (Revolutionary Betty) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A key moment comes early, when the \u003cem>San Francisco Chronicle\u003c/em> calls the apartment, hearing of the break-in and wanting to include Soskin in a story about the uptick in Bay Area crime. “No,” Soskin says, dreaming aloud of the day the newspaper calls instead to talk about harmful toxins in Richmond’s air and water, or the income inequality between the hills and the flatlands. \u003c/p>\n\u003cp>Soskin didn’t wait for the call. She told her own story, her way. With skill and heart, \u003cem>Sign My Name to Freedom\u003c/em> brings it to a new audience that should leave the theater like I did: inspired.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Sign My Name to Freedom’ runs at Z Space (450 Florida St., San Francisco) through April 13. Tickets and details here. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The tremendous new play about Richmond’s most famous park ranger doubles as a history of the Bay Area itself.","status":"publish","parent":0,"modified":1712078357,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1194},"headData":{"title":"Betty Reid Soskin’s Incredible Life Comes to the Stage in ‘Sign My Name to Freedom’ | KQED","description":"The tremendous new play about Richmond’s most famous park ranger doubles as a history of the Bay Area itself.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Betty Reid Soskin’s Incredible Life Comes to the Stage in ‘Sign My Name to Freedom’","datePublished":"2024-04-01T18:56:30.000Z","dateModified":"2024-04-02T17:19:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"betty-reid-soskins-incredible-life-story-comes-to-the-stage-in-sign-my-name-to-freedom","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955108/betty-reid-soskin-stage-play-z-space-sign-my-name-to-freedom-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13955111\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The four Betty Reid Soskins of ‘Sign My Name to Freedom’ (L–R): Cathleen Riddley, Aidaa Peerzada, Lucca Troutman and Tierra Allen. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not one, not two, but four different Betty Reid Soskins take the stage in \u003cem>Sign My Name to Freedom\u003c/em>, the world-premiere play that opened in San Francisco Friday night. And honestly, four still seems inadequate for its fascinating, multifaceted subject.\u003c/p>\n\u003cp>As this excellent and affecting production demonstrates, \u003ca href=\"https://www.kqed.org/news/tag/betty-reid-soskin\">Betty Reid Soskin\u003c/a>, the woman best known as a \u003ca href=\"https://www.kqed.org/news/11914312/betty-reid-soskin-at-100-the-life-of-the-nations-oldest-park-ranger-in-her-own-words\">park ranger\u003c/a> at Richmond’s \u003ca href=\"https://www.nps.gov/rori/index.htm\">Rosie the Riveter National Historic Park\u003c/a>, has lived at least a dozen lives, if not more. Hers is a quintessentially Bay Area story, encompassing the Great Migration, grassroots arts and political activism, experiences of thinly veiled liberal racism, the independent hustle, the trap of the suburbs, dancing the pain away and, yes, doom-loop crime. \u003c/p>\n\u003cfigure id=\"attachment_13955110\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-6-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Little Betty (Tierra Allen) learns where life will take her from the 95-year-old Betty Reid Soskin (Cathleen Riddley) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The play opens with a robber breaking into the modest apartment of Soskin (Cathleen Riddley) who, at 95 years of age, adroitly fends him off. Her stocktaking of stolen items with her fellow park ranger friend Renee (Jasmine Milan Williams) turns into an inventory of her life. Soon, Little Betty (Tierra Allen) shows up for a reenactment, replete with billowy blue fabric and aerial dancers, of the hurricane of 1927 that blew Soskin’s family all the way from New Orleans to Oakland.\u003c/p>\n\u003cp>Little Betty and older Betty begin talking, in awe of each other: Little Betty for the places she’ll go, and older Betty for where she’s been. Throughout the mostly chronological telling of Soskin’s life, playing out like a beautifully written memoir on the stage, we meet two more Soskins. There’s Married Betty, who overcomes constant challenges, and, occupying much of Act Two, the songwriting, speech-delivering Revolutionary Betty. \u003c/p>\n\u003cfigure id=\"attachment_13955115\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Lucca Troutman (Revolutionary Betty), Cathleen Riddley (Betty Reid Soskin), Tierra Allen (Little Betty) and Aidaa Peerzada (Married Betty) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an achievement by playwright Michael Gene Sullivan and director Elizabeth Carter that this approach doesn’t get too crowded, or confuse the audience. By the end of the play, when these four Bettys have told Soskin’s remarkable story, their group conversation arrives at a mutual understanding of a life and what it’s lived for. Sullivan’s dialogue is smart but not showy, thoughtfully considered and frequently very funny. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952570","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As Soskin, Riddley has her work cut out for her. Assessing her 95 years, she movingly retells prior challenges and regrets while standing strong. Allen starts out with a bit of childhood overplaying for Little Betty, but grows into the indispensable role. \u003c/p>\n\u003cp>Married Betty (Aidaa Peerzada) faces the most ups and downs, marrying music impresario Mel Reid, adopting one child and having three more, and raising them while running the family record store, \u003ca href=\"https://www.kqed.org/arts/13850266/reids-records-berkeley-gospel-mainstay-to-close-after-75-years\">Reid’s Records\u003c/a> (if you thought Too Short was the first to sell records out of the trunk, think again). Married Betty moves to Walnut Creek and fights in vain at a school board meeting to change its white supremacist culture, and eventually divorces after Mel blows their money on gambling and other women. \u003c/p>\n\u003cfigure id=\"attachment_13955117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-15-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Jeremy Brooks (Dancer/Ensemble), Marc Cunanan Chappelle (Dancer/Ensemble), Veronica Blair (Aerialist/Dancer), Nina Sawant (Aerialist/Dancer), Ahja Henry (Dance Captain/Dancer/Ensemble) and Markaila Dyson (Dancer/Ensemble) dance at a house party in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter Revolutionary Betty (Lucca Troutman), who stands on Soskin’s kitchen table to announce her new identity: folk singing Civil Rights activist. When Married Betty explains that she moved to Walnut Creek for her family, Revolutionary Betty retorts: “If you gave a damn about your family, you wouldn’t’ve moved them out here with all these threaten-to-burn-your-house-down-’cause-they’re-suburban-crackers in the first place!”\u003c/p>\n\u003cp>Soskin’s songs — \u003ca href=\"https://www.kqed.org/arts/13952570/betty-reid-soskin-music-documentary-sign-my-name-to-freedom\">recently unearthed on reel-to-reel tapes\u003c/a> stored in a box for decades — address police brutality, Black identity, and the spate of church burnings in the South, with shades of Odetta and Nina Simone. After we learn that Soskin stops writing songs amid the crack epidemic in order to save the family record store, we hear one of her most beautiful compositions, with complex jazz chords played on guitar by Troutman.\u003c/p>\n\u003cfigure id=\"attachment_13955118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-19-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lucca Troutman (Revolutionary Betty) plays and sings an original song by Betty Reid Soskin as Tierra Allen (Little Betty) listens in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Additional songs by the show’s music director Daniel Savio propel scenes of tragedy and joy. A lonely saxophone soundtracks a ship explosion in \u003ca href=\"https://www.kqed.org/news/142082/how-a-deadly-explosion-70-years-ago-led-to-integrating-the-navy\">Port Chicago\u003c/a> that kills 320 people, including the predominantly Black servicemen chosen to handle dangerous ammunition and torpedoes. And an upbeat jazz number enlivens a house party that allows Laura Elaine Ellis’ choreography, and standout dancers Ahja Henry and Marc Cunanan Chappelle, to shine. \u003c/p>\n\u003cp>If anyone out there wants to throw a million dollars at this play, please do; a higher production budget could give it the polish it deserves. Mikiko Uesugi’s set design is sparse, just a bed, dresser, table and door, and the offstage band does an able job with the constraints of their size. Both should have more texture. Especially because, aside from a recurring, not-fully-fleshed-out thread involving Soskin’s son David (and a tad too much interpretive aerial dance for my personal tastes), the play itself is nearly flawless. \u003c/p>\n\u003cfigure id=\"attachment_13955114\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13955114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/SMNTF-LexMexArt-22-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jeremy Brooks (Dancer/Ensemble), Ahja Henry (Dance Captain/Dancer/Ensemble), Veronica Blair (Aerialist/Dancer), Aidaa Peerzada (Married Betty), Marc Cunanan Chappelle (Dancer/Ensemble), Tierra Allen (Little Betty), William Brewton Fowler Jr. (Aerialist/Dancer), Nina Sawant (Aerialist/Dancer) and Lucca Troutman (Revolutionary Betty) in ‘Sign My Name to Freedom’ at Z Space. \u003ccite>(Alexa 'LexMex' Treviño)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A key moment comes early, when the \u003cem>San Francisco Chronicle\u003c/em> calls the apartment, hearing of the break-in and wanting to include Soskin in a story about the uptick in Bay Area crime. “No,” Soskin says, dreaming aloud of the day the newspaper calls instead to talk about harmful toxins in Richmond’s air and water, or the income inequality between the hills and the flatlands. \u003c/p>\n\u003cp>Soskin didn’t wait for the call. She told her own story, her way. With skill and heart, \u003cem>Sign My Name to Freedom\u003c/em> brings it to a new audience that should leave the theater like I did: inspired.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sign My Name to Freedom’ runs at Z Space (450 Florida St., San Francisco) through April 13. Tickets and details here. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955108/betty-reid-soskin-stage-play-z-space-sign-my-name-to-freedom-review","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_235","arts_967"],"tags":["arts_21955","arts_10278","arts_3652","arts_22052","arts_585","arts_1240"],"featImg":"arts_13955116","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"},"arts_13938160":{"type":"posts","id":"arts_13938160","meta":{"index":"posts_1591205157","site":"arts","id":"13938160","score":null,"sort":[1703013582000]},"guestAuthors":[],"slug":"american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross","title":"‘American Fiction’ Makes a Magnificent Mockery of Our Cultural Status Quo","publishDate":1703013582,"format":"standard","headTitle":"‘American Fiction’ Makes a Magnificent Mockery of Our Cultural Status Quo | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>There are two distinctly different stories scuffing up against one another in \u003cem>American Fiction\u003c/em>. One concerns a professionally successful but personally messy family navigating a series of hardships. The other is about what happens when an intellectual writer allows his frustration with the world to compromise his artistic vision.\u003c/p>\n\u003cp>Based on Percival Everett’s 2011 novel \u003cem>\u003ca href=\"https://www.graywolfpress.org/books/erasure\">Erasure\u003c/a>\u003c/em>, \u003cem>American Fiction\u003c/em>, written and directed by Cord Jefferson, revolves around author Thelonious “Monk” Ellison (played engagingly by Jeffrey Wright). When we first find him, Monk is tired of seeing his novels sidelined into the African American Studies section of the bookstore, while works that reinforce racist stereotypes are welcomed into central displays. His frustration is compounded when he is forced to take a leave of absence from his university job for being too unfiltered and ornery.\u003c/p>\n\u003cp>[aside postid='arts_13938158']In the midst of dealing with those professional problems, Monk is called home to Boston where he faces additional issues hitting his mother and siblings. (Wright’s chemistry with Sterling K. Brown and Tracee Ellis Ross, who play Monk’s brother and sister, is a consistent delight). The combination of all these stresses one night prompts Monk to sit down and angrily pen a manuscript steeped in Black stereotypes and awash with pandering storylines. The book, titled \u003cem>My Pafology\u003c/em>, is intended as a middle finger to the publishers who think Monk’s other most recent novel isn’t “Black enough” to warrant release.\u003c/p>\n\u003cp>To Monk’s surprise and consternation, those same publishers fall over themselves to pick up \u003cem>Pafology\u003c/em>. Before long, the writer is doing interviews as his alter-ego, Stagg. R. Leigh (a fun nod to \u003ca href=\"https://en.wikipedia.org/wiki/Lee_Shelton\">infamous 19th century pimp Stagger Lee\u003c/a>, who has inspired \u003ca href=\"https://en.wikipedia.org/wiki/Stagger_Lee\">countless songs\u003c/a> over the years). A series of increasingly ludicrous events follow as Monk’s personal ethical conundrums spiral out into the wider literary world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i0MbLCpYJPA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Within \u003cem>American Fiction\u003c/em>, the delicate family drama at play does not always gel cohesively with its often comedic rendering of the publishing world. But perhaps dissonance is the point. \u003cem>American Fiction\u003c/em> is, at its core, a story about the many ways that mainstream popular culture fails to reflect the true breadth of the Black American experience. By juxtaposing Monk’s home life — his academic career, his doctor siblings and quaint beach house — with the cartoonish criminal persona he is forced to adopt to promote \u003cem>Pafology\u003c/em>, the absurdity of America’s cultural status quo is quite thoroughly reflected.\u003c/p>\n\u003cp>[aside postid='arts_13938942']\u003cem>American Fiction\u003c/em> is at its most fun when it’s mocking white thirst for violent and reductive Black stories. Adam Brody is deliciously smarmy as a misguided movie producer who profits from peddling racial stereotypes. Miriam Shor is hilarious as an urbane publisher pretending to understand street life. A scene in which two white literary judges shut down two Black judges because “it’s essential to listen to Black voices right now,” is brilliantly executed. All of these moments are aimed squarely at white people who feel they can absolve themselves of racism if they look directly at depictions of Black suffering for long enough. That these white folks think they’re brave for doing so is the punchline.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>American Fiction\u003c/em> is, all at once, an effective family drama, a hilarious critique of institutional racism and a complicated look at the consequences (and potential benefits) of complicity. The fact that no easy answers or solutions are provided to the many questions the movie prompts will keep you pondering long after the credits have rolled. And you’ll never view \u003cem>Precious: Based on the Novel ‘Push’ by Sapphire\u003c/em> the same way again.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\"> \u003cem>‘American Fiction’ opens nationwide on Dec. 22, 2023.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Cord Jefferson’s entertaining debut film takes on racially reductive pop culture and the people who peddle it. ","status":"publish","parent":0,"modified":1705535495,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":640},"headData":{"title":"‘American Fiction’ Review: Magnificent Mockery of Our Status Quo | KQED","description":"Cord Jefferson’s entertaining debut film takes on racially reductive pop culture and the people who peddle it. ","ogTitle":"‘American Fiction’ Makes a Magnificent Mockery of Our Cultural Status Quo","ogDescription":"","ogImgId":"","twTitle":"‘American Fiction’ Makes a Magnificent Mockery of Our Cultural Status Quo","twDescription":"","twImgId":"","socialTitle":"‘American Fiction’ Review: Magnificent Mockery of Our Status Quo %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘American Fiction’ Makes a Magnificent Mockery of Our Cultural Status Quo","datePublished":"2023-12-19T19:19:42.000Z","dateModified":"2024-01-17T23:51:35.000Z","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/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are two distinctly different stories scuffing up against one another in \u003cem>American Fiction\u003c/em>. One concerns a professionally successful but personally messy family navigating a series of hardships. The other is about what happens when an intellectual writer allows his frustration with the world to compromise his artistic vision.\u003c/p>\n\u003cp>Based on Percival Everett’s 2011 novel \u003cem>\u003ca href=\"https://www.graywolfpress.org/books/erasure\">Erasure\u003c/a>\u003c/em>, \u003cem>American Fiction\u003c/em>, written and directed by Cord Jefferson, revolves around author Thelonious “Monk” Ellison (played engagingly by Jeffrey Wright). When we first find him, Monk is tired of seeing his novels sidelined into the African American Studies section of the bookstore, while works that reinforce racist stereotypes are welcomed into central displays. His frustration is compounded when he is forced to take a leave of absence from his university job for being too unfiltered and ornery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938158","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In the midst of dealing with those professional problems, Monk is called home to Boston where he faces additional issues hitting his mother and siblings. (Wright’s chemistry with Sterling K. Brown and Tracee Ellis Ross, who play Monk’s brother and sister, is a consistent delight). The combination of all these stresses one night prompts Monk to sit down and angrily pen a manuscript steeped in Black stereotypes and awash with pandering storylines. The book, titled \u003cem>My Pafology\u003c/em>, is intended as a middle finger to the publishers who think Monk’s other most recent novel isn’t “Black enough” to warrant release.\u003c/p>\n\u003cp>To Monk’s surprise and consternation, those same publishers fall over themselves to pick up \u003cem>Pafology\u003c/em>. Before long, the writer is doing interviews as his alter-ego, Stagg. R. Leigh (a fun nod to \u003ca href=\"https://en.wikipedia.org/wiki/Lee_Shelton\">infamous 19th century pimp Stagger Lee\u003c/a>, who has inspired \u003ca href=\"https://en.wikipedia.org/wiki/Stagger_Lee\">countless songs\u003c/a> over the years). A series of increasingly ludicrous events follow as Monk’s personal ethical conundrums spiral out into the wider literary world.\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/i0MbLCpYJPA'\n title='//www.youtube.com/embed/i0MbLCpYJPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>Within \u003cem>American Fiction\u003c/em>, the delicate family drama at play does not always gel cohesively with its often comedic rendering of the publishing world. But perhaps dissonance is the point. \u003cem>American Fiction\u003c/em> is, at its core, a story about the many ways that mainstream popular culture fails to reflect the true breadth of the Black American experience. By juxtaposing Monk’s home life — his academic career, his doctor siblings and quaint beach house — with the cartoonish criminal persona he is forced to adopt to promote \u003cem>Pafology\u003c/em>, the absurdity of America’s cultural status quo is quite thoroughly reflected.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938942","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>American Fiction\u003c/em> is at its most fun when it’s mocking white thirst for violent and reductive Black stories. Adam Brody is deliciously smarmy as a misguided movie producer who profits from peddling racial stereotypes. Miriam Shor is hilarious as an urbane publisher pretending to understand street life. A scene in which two white literary judges shut down two Black judges because “it’s essential to listen to Black voices right now,” is brilliantly executed. All of these moments are aimed squarely at white people who feel they can absolve themselves of racism if they look directly at depictions of Black suffering for long enough. That these white folks think they’re brave for doing so is the punchline.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>American Fiction\u003c/em> is, all at once, an effective family drama, a hilarious critique of institutional racism and a complicated look at the consequences (and potential benefits) of complicity. The fact that no easy answers or solutions are provided to the many questions the movie prompts will keep you pondering long after the credits have rolled. And you’ll never view \u003cem>Precious: Based on the Novel ‘Push’ by Sapphire\u003c/em> the same way again.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\"> \u003cem>‘American Fiction’ opens nationwide on Dec. 22, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_10278","arts_977","arts_3652","arts_769","arts_585"],"featImg":"arts_13938175","label":"arts_140"},"arts_13939522":{"type":"posts","id":"arts_13939522","meta":{"index":"posts_1591205157","site":"arts","id":"13939522","score":null,"sort":[1702690169000]},"guestAuthors":[],"slug":"breaking-isolation-and-building-bridges","title":"Breaking Isolation and Building Bridges","publishDate":1702690169,"format":"audio","headTitle":"Breaking Isolation and Building Bridges | KQED","labelTerm":{},"content":"\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>This country is extremely divided, always has been.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When you combine the issues of racism, sexism and other isms that have plagued us for ages and mix in the division that’s risen over this drawn out pandemic, you could see why some people might feel comfortable and complacent in their silos.\u003c/span>\u003c/p>\n\u003cp>But let’s do something about it.\u003c/p>\n\u003cp>I’m asking you to get out of that comfort zone, reach out and connect with another person or group. It’s a simple ask: build a bridge.\u003c/p>\n\u003cp>This week, I’m encouraging you all to take a step toward building bridges by making some community connections. Take a listen and let’s get into it.\u003c/p>\n\u003cp>\u003cem>This story was originally published December 17, 2021 \u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7814647586&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Pendarvis Harshaw, host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Peace, I’m Pendarvis Harshaw, thanks for tuning in to Rightnowish. We’ve got a special personal essay for you today. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s the last episode of the year. So, before we start the 2022 campaign, we’re gonna do things a little different today. I’m coming to you with an ask, actually– na, nah this is a demand. It’s simple\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Be a bridge, build community. It’s so simple and, at the same time, it’s profoundly necessary right now. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Look at what we’re dealing with: There’s systematic racism, inherent sexism, the failed prison system, and example after example of how the education system is flawed. There are people who come from a lineage of immigrants but dislike people who are currently immigrating. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Meat eaters and vegans are beefing. Men argue about women’s bodies.\u003c/span> \u003cspan style=\"font-weight: 400\">Look, I haven’t even mentioned the divisions that arise around the COVID-19 vaccinations. People are picking an argument and choosing a side and staying there. \u003c/span>\u003cspan style=\"font-weight: 400\">The bottom line is: we’re here. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Society is splintered into select social groups,\u003c/span>\u003cspan style=\"font-weight: 400\"> which is then magnified and digitized through \u003c/span>\u003cspan style=\"font-weight: 400\">social media algorithms. It’s wild how the great connector– the internet– can make people even more divisive. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Which brings us to the next reason we need bridges, beyond the conflicts– there’s a lot of isolation. For me, that looked like spending long stretches of time alone in my apartment when Z was at her mom’s. And if you ask me, I’d tell you that loneliness isn’t fully living at all.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">During these past two years, a lot of folks have been in the same boat– trying to navigate these uncharted medical waters, while getting hit with storm after storm of false information. And the one constant — though sometimes controversial– message has been to avoid social gatherings. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The isolation elevated people’s distrust, both for the government and each other. People missed family traditions during the holidays. Friends lost contact, co-workers didn’t interact as much, if at all. Folks joined the gig economy, where they often work alone. And for others, working from home has become a normal thing. Well, either that, or not working at all.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then there’s schools. I recently spoke to a teacher who didn’t know what the bottom half of his students’ faces looked like. I laughed, but as a parent, I don’t think I’d be able to identify my daughter’s teacher if she were walking down the street. It’s weird to drop my kid off, see her get her temperature checked and she’s gone. I can’t enter the school for any reason.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ok, I just laid a lot on you, I know. But I had to illustrate the troubled waters we’re facing. \u003c/span>\u003cspan style=\"font-weight: 400\">See this feeling of separation and division, forgive my optimism but I think we can overcome it. But hear me out: we gotta wake up everyday and simply build bridges\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I recently watched a film that \u003c/span>\u003cspan style=\"font-weight: 400\">embodies this idea, for me at least, give me a sec…and I can explain it’ll make sense soon enough.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003cem>Clip from \u003c/em>\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cem>Game Gods\u003c/em>]: \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">\u003cstrong>Ayodele Nzinga:\u003c/strong> Take the dice. Take the dice and roll your life.. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>…\u003cspan style=\"font-weight: 400\">says Oakland Poet Laureate Ayodele Nzinga in the introductory monologue in Adrian Burrell’s short film \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Game Gods\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003cem>Clip from \u003c/em>\u003c/span>\u003cem>\u003cspan style=\"font-weight: 400\">Game Gods\u003c/span>\u003c/em>\u003cspan style=\"font-weight: 400\">]: \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cstrong>Ayodele Nzinga:\u003c/strong> Existence is complex and the pieces are held in \u003c/span>\u003cspan style=\"font-weight: 400\">place by ancient forces. There the gods of our fathers.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The 20 minute motion picture is art. In it we see Ayodele wearing a godly white garb as she recites poetic lyrics, standing in lush green woodlands. Her words are spliced against cinematic scenes of dice games and bankrolls, gold grills and shiny jewelry and recurring shots of baptisms, and a second line. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The words: “It’s not right but it’s not wrong either,” appear on the screen. And through interviews we follow the stories of the individuals featured in the film, doing what they can to get what they have. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003cem>Clip from \u003c/em>\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cem>Game Gods\u003c/em>]:\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cstrong>Ayodele Nzinga:\u003c/strong> The American dream, the American dream, the American dream…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The movie is an artistic exploration of economics, oppression, morality, and survival in the face of a capitalist society that has looked to exterminate “the Gods”, or rather, the good within. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film is a bridge between the underworld of urban America and the heavens above. \u003c/span>\u003cspan style=\"font-weight: 400\">The film is a bridge between the economically disenfranchised folks and the people who \u003c/span>\u003cspan style=\"font-weight: 400\">I imagine might view this at posh film festivals and art galleries. The film is a bridge between its creators, Ayodele and Adrian. And I had the fortune of being the bridge that connected them by simply sending a message.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Through my work as a journalist, I got to know both of them, separately at first, in 2019.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ayodele is Oakland’s first ever poet laureate, and longtime pillar in the theatre arts community \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003cem>Clip from 2019 interview\u003c/em>]: \u003c/span>\u003cb>\u003c/b>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I just have to ask you, what happens if that space is not created for story ?\u003c/span>\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-weight: 400\">[\u003cem>Clip from 2019 interview\u003c/em>]: \u003c/span>Ayodele Nzinga:\u003c/b>\u003cspan style=\"font-weight: 400\"> I don’t think I have to hold space. My duty as an artist is to find the stories, honor the stories.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan>I featured her on this show, when she was one third of the trio behind \u003c/span>\u003ci>\u003cspan>“Iya Iya’s House of Burning Souls\u003c/span>\u003c/i>\u003ci>\u003cspan>,” \u003c/span>\u003c/i>\u003cspan>along with\u003c/span> \u003cspan>Kharyshi Wigington and Cat Brooks. Their performance was about art as a form of healing, a thread that Ayodele brings to this film as well. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Adrian Burrell, a documentary filmmaker, was the subject of a piece I wrote after he documented his harassment by a Vallejo Police Department officer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003cem>Clip from interview]\u003c/em>: \u003c/span>\u003cb>Adrian Burrell:\u003c/b>\u003cspan style=\"font-weight: 400\"> I felt violated. I felt like my humanity and my agency was taken away from me that in a way that didn’t need to be \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Beyond that, I’ve grown to know Adrian through his photography and documentary films, which focus on family, Black history and spirituality. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These two beautiful souls – Ayodele and Adrian, they are among the many, many many people I encounter through my work. It’s a perk of being an Arts writer. But with this power to speak to creative individuals who’ve spent years perfecting their craft, while working in siloed studios and bedrooms– comes with the responsibility of connecting them. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So every week, I send a handful of emails or text messages connecting one person to another, a person to an organization, a musician to a group of friends. It’s natural at this point. I mean, it takes time– I wish I could get paid for it. If I had a nickel for every social bridge I’ve built, I’ll tell ya. But keep it a thousand, this is priceless work. Especially when I know how divided we are as a people and how badly we need to be connected. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ve got to take it upon ourselves to connect people who might work well together–the folks who have an idea, and need that one person to help actualize it. I ask you, or better, I request that you build with them. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, this is going to look different for you than it does for me, I know that. But the idea is the same. If we plan on doing something about the ills of society, we need to work together to do so. And to work together, it’s going to take introductory emails, text threads.\u003c/span>\u003c/p>\n\u003cp>[\u003ci>\u003cspan style=\"font-weight: 400\">Text message FX\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And a couple of “hey you should meet this person,” sorta messages.\u003c/span>\u003c/p>\n\u003cp>[\u003ci>\u003cspan style=\"font-weight: 400\">Text message FX\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Each bridge will be unique, which is true in the construction world. Think about the Bay, we’ve got overpasses, draw bridges, and other structures [\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Text message FX\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The world-renowned Golden Gate Bridge is hella different from the San Rafael Bridge, despite being only a few miles apart. The Dumbarton Bridge starts low– almost on the water– before rising to its apex and then coming back down. While the Carquinez Bridge is pretty much level all the way through. Even the two sides of the Bay Bridge differ drastically in structural design and lighting.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But each one of those structures helps people get over something, and leads folks from one side to the other–a conduit, aconnector, a community builder, an apt metaphor for what’s needed right now.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That said, take a look at your family or circle of friends, even the larger community. Then ask that question: how can I build a bridge today? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m Pendarvis Harshaw, host of Rightnowish, and believer in bridge building thanks for listening to me.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena is the producer of this show. Our editor is Jessica Placzek. Ceil Muller is our engineer. Kyana Moghadam, Ashly Ng, and Justin Ebrahimi make up the engagement team. KQED execs are David Markus and Holly Kernan. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Happy Holidays folks. Take this time to recharge, catch up with your people, and enjoy yourself. Rightnowish will be taking a winter recess, and be back January 7th. Till then, leave us some love on social. What episodes were your favorite this year? We wanna know. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"A personal audio essay on building bridges from Rightnowish host, Pendarvis Harsahaw.","status":"publish","parent":0,"modified":1705002963,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":63,"wordCount":1878},"headData":{"title":"Breaking Isolation and Building Bridges | KQED","description":"KQED's Pendarvis Harshaw encourages everyone to take a step toward building bridges by making some community connections.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"KQED's Pendarvis Harshaw encourages everyone to take a step toward building bridges by making some community connections.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Breaking Isolation and Building Bridges","datePublished":"2023-12-16T01:29:29.000Z","dateModified":"2024-01-11T19:56:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Rightnowish","sourceUrl":"https://www.kqed.org/podcasts/rightnowish","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC7814647586.mp3?updated=1639703066","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13939522/breaking-isolation-and-building-bridges","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>\u003cspan style=\"font-weight: 400\">View the full episode transcript.\u003c/span>\u003c/i>\u003c/a>\u003c/p>\n\u003cp>This country is extremely divided, always has been.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When you combine the issues of racism, sexism and other isms that have plagued us for ages and mix in the division that’s risen over this drawn out pandemic, you could see why some people might feel comfortable and complacent in their silos.\u003c/span>\u003c/p>\n\u003cp>But let’s do something about it.\u003c/p>\n\u003cp>I’m asking you to get out of that comfort zone, reach out and connect with another person or group. It’s a simple ask: build a bridge.\u003c/p>\n\u003cp>This week, I’m encouraging you all to take a step toward building bridges by making some community connections. Take a listen and let’s get into it.\u003c/p>\n\u003cp>\u003cem>This story was originally published December 17, 2021 \u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC7814647586&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Pendarvis Harshaw, host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Peace, I’m Pendarvis Harshaw, thanks for tuning in to Rightnowish. We’ve got a special personal essay for you today. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s the last episode of the year. So, before we start the 2022 campaign, we’re gonna do things a little different today. I’m coming to you with an ask, actually– na, nah this is a demand. It’s simple\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Be a bridge, build community. It’s so simple and, at the same time, it’s profoundly necessary right now. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Look at what we’re dealing with: There’s systematic racism, inherent sexism, the failed prison system, and example after example of how the education system is flawed. There are people who come from a lineage of immigrants but dislike people who are currently immigrating. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Meat eaters and vegans are beefing. Men argue about women’s bodies.\u003c/span> \u003cspan style=\"font-weight: 400\">Look, I haven’t even mentioned the divisions that arise around the COVID-19 vaccinations. People are picking an argument and choosing a side and staying there. \u003c/span>\u003cspan style=\"font-weight: 400\">The bottom line is: we’re here. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Society is splintered into select social groups,\u003c/span>\u003cspan style=\"font-weight: 400\"> which is then magnified and digitized through \u003c/span>\u003cspan style=\"font-weight: 400\">social media algorithms. It’s wild how the great connector– the internet– can make people even more divisive. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Which brings us to the next reason we need bridges, beyond the conflicts– there’s a lot of isolation. For me, that looked like spending long stretches of time alone in my apartment when Z was at her mom’s. And if you ask me, I’d tell you that loneliness isn’t fully living at all.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">During these past two years, a lot of folks have been in the same boat– trying to navigate these uncharted medical waters, while getting hit with storm after storm of false information. And the one constant — though sometimes controversial– message has been to avoid social gatherings. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The isolation elevated people’s distrust, both for the government and each other. People missed family traditions during the holidays. Friends lost contact, co-workers didn’t interact as much, if at all. Folks joined the gig economy, where they often work alone. And for others, working from home has become a normal thing. Well, either that, or not working at all.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then there’s schools. I recently spoke to a teacher who didn’t know what the bottom half of his students’ faces looked like. I laughed, but as a parent, I don’t think I’d be able to identify my daughter’s teacher if she were walking down the street. It’s weird to drop my kid off, see her get her temperature checked and she’s gone. I can’t enter the school for any reason.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ok, I just laid a lot on you, I know. But I had to illustrate the troubled waters we’re facing. \u003c/span>\u003cspan style=\"font-weight: 400\">See this feeling of separation and division, forgive my optimism but I think we can overcome it. But hear me out: we gotta wake up everyday and simply build bridges\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I recently watched a film that \u003c/span>\u003cspan style=\"font-weight: 400\">embodies this idea, for me at least, give me a sec…and I can explain it’ll make sense soon enough.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003cem>Clip from \u003c/em>\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cem>Game Gods\u003c/em>]: \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">\u003cstrong>Ayodele Nzinga:\u003c/strong> Take the dice. Take the dice and roll your life.. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>…\u003cspan style=\"font-weight: 400\">says Oakland Poet Laureate Ayodele Nzinga in the introductory monologue in Adrian Burrell’s short film \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Game Gods\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003cem>Clip from \u003c/em>\u003c/span>\u003cem>\u003cspan style=\"font-weight: 400\">Game Gods\u003c/span>\u003c/em>\u003cspan style=\"font-weight: 400\">]: \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cstrong>Ayodele Nzinga:\u003c/strong> Existence is complex and the pieces are held in \u003c/span>\u003cspan style=\"font-weight: 400\">place by ancient forces. There the gods of our fathers.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The 20 minute motion picture is art. In it we see Ayodele wearing a godly white garb as she recites poetic lyrics, standing in lush green woodlands. Her words are spliced against cinematic scenes of dice games and bankrolls, gold grills and shiny jewelry and recurring shots of baptisms, and a second line. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The words: “It’s not right but it’s not wrong either,” appear on the screen. And through interviews we follow the stories of the individuals featured in the film, doing what they can to get what they have. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003cem>Clip from \u003c/em>\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cem>Game Gods\u003c/em>]:\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cstrong>Ayodele Nzinga:\u003c/strong> The American dream, the American dream, the American dream…\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The movie is an artistic exploration of economics, oppression, morality, and survival in the face of a capitalist society that has looked to exterminate “the Gods”, or rather, the good within. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film is a bridge between the underworld of urban America and the heavens above. \u003c/span>\u003cspan style=\"font-weight: 400\">The film is a bridge between the economically disenfranchised folks and the people who \u003c/span>\u003cspan style=\"font-weight: 400\">I imagine might view this at posh film festivals and art galleries. The film is a bridge between its creators, Ayodele and Adrian. And I had the fortune of being the bridge that connected them by simply sending a message.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Through my work as a journalist, I got to know both of them, separately at first, in 2019.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ayodele is Oakland’s first ever poet laureate, and longtime pillar in the theatre arts community \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003cem>Clip from 2019 interview\u003c/em>]: \u003c/span>\u003cb>\u003c/b>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I just have to ask you, what happens if that space is not created for story ?\u003c/span>\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-weight: 400\">[\u003cem>Clip from 2019 interview\u003c/em>]: \u003c/span>Ayodele Nzinga:\u003c/b>\u003cspan style=\"font-weight: 400\"> I don’t think I have to hold space. My duty as an artist is to find the stories, honor the stories.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan>I featured her on this show, when she was one third of the trio behind \u003c/span>\u003ci>\u003cspan>“Iya Iya’s House of Burning Souls\u003c/span>\u003c/i>\u003ci>\u003cspan>,” \u003c/span>\u003c/i>\u003cspan>along with\u003c/span> \u003cspan>Kharyshi Wigington and Cat Brooks. Their performance was about art as a form of healing, a thread that Ayodele brings to this film as well. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Adrian Burrell, a documentary filmmaker, was the subject of a piece I wrote after he documented his harassment by a Vallejo Police Department officer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003cem>Clip from interview]\u003c/em>: \u003c/span>\u003cb>Adrian Burrell:\u003c/b>\u003cspan style=\"font-weight: 400\"> I felt violated. I felt like my humanity and my agency was taken away from me that in a way that didn’t need to be \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Beyond that, I’ve grown to know Adrian through his photography and documentary films, which focus on family, Black history and spirituality. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These two beautiful souls – Ayodele and Adrian, they are among the many, many many people I encounter through my work. It’s a perk of being an Arts writer. But with this power to speak to creative individuals who’ve spent years perfecting their craft, while working in siloed studios and bedrooms– comes with the responsibility of connecting them. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So every week, I send a handful of emails or text messages connecting one person to another, a person to an organization, a musician to a group of friends. It’s natural at this point. I mean, it takes time– I wish I could get paid for it. If I had a nickel for every social bridge I’ve built, I’ll tell ya. But keep it a thousand, this is priceless work. Especially when I know how divided we are as a people and how badly we need to be connected. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ve got to take it upon ourselves to connect people who might work well together–the folks who have an idea, and need that one person to help actualize it. I ask you, or better, I request that you build with them. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, this is going to look different for you than it does for me, I know that. But the idea is the same. If we plan on doing something about the ills of society, we need to work together to do so. And to work together, it’s going to take introductory emails, text threads.\u003c/span>\u003c/p>\n\u003cp>[\u003ci>\u003cspan style=\"font-weight: 400\">Text message FX\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And a couple of “hey you should meet this person,” sorta messages.\u003c/span>\u003c/p>\n\u003cp>[\u003ci>\u003cspan style=\"font-weight: 400\">Text message FX\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Each bridge will be unique, which is true in the construction world. Think about the Bay, we’ve got overpasses, draw bridges, and other structures [\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Text message FX\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The world-renowned Golden Gate Bridge is hella different from the San Rafael Bridge, despite being only a few miles apart. The Dumbarton Bridge starts low– almost on the water– before rising to its apex and then coming back down. While the Carquinez Bridge is pretty much level all the way through. Even the two sides of the Bay Bridge differ drastically in structural design and lighting.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But each one of those structures helps people get over something, and leads folks from one side to the other–a conduit, aconnector, a community builder, an apt metaphor for what’s needed right now.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That said, take a look at your family or circle of friends, even the larger community. Then ask that question: how can I build a bridge today? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Music\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">]\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m Pendarvis Harshaw, host of Rightnowish, and believer in bridge building thanks for listening to me.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena is the producer of this show. Our editor is Jessica Placzek. Ceil Muller is our engineer. Kyana Moghadam, Ashly Ng, and Justin Ebrahimi make up the engagement team. KQED execs are David Markus and Holly Kernan. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Happy Holidays folks. Take this time to recharge, catch up with your people, and enjoy yourself. Rightnowish will be taking a winter recess, and be back January 7th. Till then, leave us some love on social. What episodes were your favorite this year? We wanna know. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939522/breaking-isolation-and-building-bridges","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_21759"],"tags":["arts_8167","arts_1118","arts_3247","arts_10312","arts_3652","arts_7580"],"featImg":"arts_13939523","label":"source_arts_13939522"},"arts_13938247":{"type":"posts","id":"arts_13938247","meta":{"index":"posts_1591205157","site":"arts","id":"13938247","score":null,"sort":[1700508077000]},"guestAuthors":[],"slug":"stamped-from-the-beginning-documentary-review-netflix-racism","title":"‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism","publishDate":1700508077,"format":"standard","headTitle":"‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The Netflix documentary \u003cem>Stamped from the Beginning\u003c/em> kicks off with a provocative question from antiracism advocate, author and professor Ibram X. Kendi:\u003c/p>\n\u003cp>What is wrong with Black people?\u003c/p>\n\u003cp>[aside postid='arts_13934736']As a succession of Black academics express wonder and surprise at the question — rolling it over in their mouths while they think about it, like tasting a bitter pill — \u003cem>Stamped from the Beginning\u003c/em> launches into an incisive, expansive look at the origin of racist ideas about Black people, covering themes Kendi first explored in his 2016 award-winning book \u003cem>Stamped from the Beginning: The Definitive History of Racist Ideas in America\u003c/em>.\u003c/p>\n\u003cp>Chief among them: The idea that much of the systemic racism and prejudiced ideas aligned against Black people even now was deliberately created to justify their enslavement and exploitation.\u003c/p>\n\u003ch3>The emergence of strategic racism\u003c/h3>\n\u003cp>In other words, Europeans didn’t necessarily enslave Africans because they saw them as lesser beings. They spread stories about them being lesser beings to explain why it was acceptable to enslave them — purposefully utilizing prejudice to achieve material gain in a practice sometimes called strategic racism.\u003c/p>\n\u003cfigure id=\"attachment_13938249\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe\" alt=\"A medieval text shows two elaborately decorated pages and a portrait of a white man wearing a strange black hat and red smock. \" width=\"1280\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-768x431.jpe 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The film depicts Gomes Zurara’s book featuring Prince Henry of Portugal. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early in the film, Kendi speaks about Prince Henry of Portugal — a leader from the 15th century also known as \u003ca href=\"https://www.britannica.com/biography/Henry-the-Navigator\">Prince Henry the Navigator\u003c/a> — who he says turned to enslaving Africans over slavic people from Eastern Europe because it was harder for Black people to blend in and flee once they’d left Africa.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Prince Henry didn’t want to admit that he was violently and brutally enslaving African people to make money,” Kendi says in the film. “So he dispatched a royal chronicler by the name of Gomes Zurara to write his story. Gomes Zurara justified his slave trading by stating that Prince Henry was doing it to save souls. And that these people in Africa were inferior, were beastlike.”\u003c/p>\n\u003cp>As a film, \u003cem>Stamped from the Beginning, \u003c/em>directed and produced by Oscar-winner Roger Ross Williams, is a primer packed with compelling visuals, including animation that weaves into images of historical photos. Several renowned Black female academics weigh in, including legendary activist and scholar Angela Davis; Kendi is an executive producer along with longtime TV producer Mara Brock Akil, creator of \u003cem>Girlfriends\u003c/em>, \u003cem>The Game\u003c/em> and \u003cem>Being Mary Jane\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HMYLFQbyIu4\u003c/p>\n\u003ch3>Making history feel immediate for modern audiences\u003c/h3>\n\u003cp>The result is a chronicle covering hundreds of years of history, which feels as contemporary as an Instagram post. Kendi and his fellow academics dig into subjects such as: the invention of Blackness (lumping together Black people from different areas in Africa as one race inferior to lighter skinned people; elevating working class white people to stifle any solidarity with Black people); the myth of assimilation (giving Black people the false idea that, if they just comport themselves in ways which make white people comfortable, they can achieve equality); and the myth of Black hypersexuality (justifying the rape of Black women and the lynching of Black men).\u003c/p>\n\u003cp>[aside postid='arts_13931196']The roots of these damaging prejudices and myths, as discussed by the film, connect to other ideas Kendi has presented in his blockbuster 2019 book \u003ca href=\"https://www.npr.org/2019/08/15/751070344/theres-no-such-thing-as-not-racist-in-ibram-x-kendis-how-to-be-an-anitracist\">\u003cem>How to Be an Antiracist\u003c/em>,\u003c/a> which encourages seeing racism as a behavior, not necessarily a state of being. In Kendi’s view, every person can make choices every day which affirm systemic racism and prejudice, or they can act to dismantle them through antiracism.\u003c/p>\n\u003cp>Kendi has joined the narrow ranks of nationally-known Black academics whose thoughts and theories about race in America have reached outside academia to touch general audiences — especially white people. His profile grew during the international reckoning over systemic racism kicked off in 2020 by the murder of George Floyd, leading to other spinoff products like a children’s book called \u003cem>Antiracism Baby\u003c/em> and a docuseries about racism in sports on ESPN+ called \u003ca href=\"https://www.youtube.com/watch?v=rcuNcovO-Ic\">\u003cem>Skin in the Game\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>He’s also garnered some criticism, particularly after deciding earlier this year to \u003ca href=\"https://www.insidehighered.com/news/quick-takes/2023/09/25/ibram-x-kendi-defends-antiracism-center-after-layoffs\">lay off about half the staff \u003c/a>at Boston University’s Center for Antiracist Research, where he serves as founding director. But a recent audit released by the school declared \u003ca href=\"https://www.bu.edu/articles/2023/audit-finds-no-issues-at-center-for-antiracist-research/\">there were no issues \u003c/a>with how the center’s finances were handled — news which pushes back a bit against efforts to tag Kendi as some sort of racial justice profiteer.\u003c/p>\n\u003cp>In the end, Netflix’s \u003cem>Stamped from the Beginning\u003c/em> offers a well-paced and affecting look at the roots of Black-focused racism that won’t necessarily surprise those who already know this history, but may still be tough to watch for those sensitive to stories about the exploitation of marginalized people.\u003c/p>\n\u003cp>[aside postid='arts_13935208']Eventually, at the end of the film, Kendi provides his own answer to the question which started the movie’s journey:\u003c/p>\n\u003cp>“The only thing wrong with Black people,” he says, “is that we think something is wrong with Black people.”\u003c/p>\n\u003cp>\u003cem>The audio and digital stories were edited by Jennifer Vanasco.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Stamped+From+the+Beginning%27+is+a+sharp+look+at+the+history+of+anti-Black+racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\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\u003cdiv>\u003cem>‘Stamped from the Beginning’ begins streaming on Netflix on Nov. 20, 2023.\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Angela Davis is one of the academics tasked with answering a provocative question: What’s wrong with Black people?","status":"publish","parent":0,"modified":1705003079,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":883},"headData":{"title":"‘Stamped From the Beginning’ Review: A Stark History of Racism | KQED","description":"Angela Davis is one of the academics tasked with answering a provocative question: What’s wrong with Black people?","ogTitle":"‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism","ogDescription":"","ogImgId":"","twTitle":"‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism","twDescription":"","twImgId":"","socialTitle":"‘Stamped From the Beginning’ Review: A Stark History of Racism%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Stamped From the Beginning’ Is a Sharp Look at the History of Anti-Black Racism","datePublished":"2023-11-20T19:21:17.000Z","dateModified":"2024-01-11T19:57:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Eric Deggans","nprImageAgency":"Netflix","nprStoryId":"1212570869","nprApiLink":"http://api.npr.org/query?id=1212570869&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/11/20/1212570869/stamped-from-the-beginning-review-netflix-kendi?ft=nprml&f=1212570869","nprRetrievedStory":"1","nprPubDate":"Mon, 20 Nov 2023 05:00:00 -0500","nprStoryDate":"Mon, 20 Nov 2023 05:00:13 -0500","nprLastModifiedDate":"Mon, 20 Nov 2023 05:00:13 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13938247/stamped-from-the-beginning-documentary-review-netflix-racism","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Netflix documentary \u003cem>Stamped from the Beginning\u003c/em> kicks off with a provocative question from antiracism advocate, author and professor Ibram X. Kendi:\u003c/p>\n\u003cp>What is wrong with Black people?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13934736","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As a succession of Black academics express wonder and surprise at the question — rolling it over in their mouths while they think about it, like tasting a bitter pill — \u003cem>Stamped from the Beginning\u003c/em> launches into an incisive, expansive look at the origin of racist ideas about Black people, covering themes Kendi first explored in his 2016 award-winning book \u003cem>Stamped from the Beginning: The Definitive History of Racist Ideas in America\u003c/em>.\u003c/p>\n\u003cp>Chief among them: The idea that much of the systemic racism and prejudiced ideas aligned against Black people even now was deliberately created to justify their enslavement and exploitation.\u003c/p>\n\u003ch3>The emergence of strategic racism\u003c/h3>\n\u003cp>In other words, Europeans didn’t necessarily enslave Africans because they saw them as lesser beings. They spread stories about them being lesser beings to explain why it was acceptable to enslave them — purposefully utilizing prejudice to achieve material gain in a practice sometimes called strategic racism.\u003c/p>\n\u003cfigure id=\"attachment_13938249\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe\" alt=\"A medieval text shows two elaborately decorated pages and a portrait of a white man wearing a strange black hat and red smock. \" width=\"1280\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-768x431.jpe 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The film depicts Gomes Zurara’s book featuring Prince Henry of Portugal. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early in the film, Kendi speaks about Prince Henry of Portugal — a leader from the 15th century also known as \u003ca href=\"https://www.britannica.com/biography/Henry-the-Navigator\">Prince Henry the Navigator\u003c/a> — who he says turned to enslaving Africans over slavic people from Eastern Europe because it was harder for Black people to blend in and flee once they’d left Africa.\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>“Prince Henry didn’t want to admit that he was violently and brutally enslaving African people to make money,” Kendi says in the film. “So he dispatched a royal chronicler by the name of Gomes Zurara to write his story. Gomes Zurara justified his slave trading by stating that Prince Henry was doing it to save souls. And that these people in Africa were inferior, were beastlike.”\u003c/p>\n\u003cp>As a film, \u003cem>Stamped from the Beginning, \u003c/em>directed and produced by Oscar-winner Roger Ross Williams, is a primer packed with compelling visuals, including animation that weaves into images of historical photos. Several renowned Black female academics weigh in, including legendary activist and scholar Angela Davis; Kendi is an executive producer along with longtime TV producer Mara Brock Akil, creator of \u003cem>Girlfriends\u003c/em>, \u003cem>The Game\u003c/em> and \u003cem>Being Mary Jane\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HMYLFQbyIu4'\n title='//www.youtube.com/embed/HMYLFQbyIu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Making history feel immediate for modern audiences\u003c/h3>\n\u003cp>The result is a chronicle covering hundreds of years of history, which feels as contemporary as an Instagram post. Kendi and his fellow academics dig into subjects such as: the invention of Blackness (lumping together Black people from different areas in Africa as one race inferior to lighter skinned people; elevating working class white people to stifle any solidarity with Black people); the myth of assimilation (giving Black people the false idea that, if they just comport themselves in ways which make white people comfortable, they can achieve equality); and the myth of Black hypersexuality (justifying the rape of Black women and the lynching of Black men).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931196","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The roots of these damaging prejudices and myths, as discussed by the film, connect to other ideas Kendi has presented in his blockbuster 2019 book \u003ca href=\"https://www.npr.org/2019/08/15/751070344/theres-no-such-thing-as-not-racist-in-ibram-x-kendis-how-to-be-an-anitracist\">\u003cem>How to Be an Antiracist\u003c/em>,\u003c/a> which encourages seeing racism as a behavior, not necessarily a state of being. In Kendi’s view, every person can make choices every day which affirm systemic racism and prejudice, or they can act to dismantle them through antiracism.\u003c/p>\n\u003cp>Kendi has joined the narrow ranks of nationally-known Black academics whose thoughts and theories about race in America have reached outside academia to touch general audiences — especially white people. His profile grew during the international reckoning over systemic racism kicked off in 2020 by the murder of George Floyd, leading to other spinoff products like a children’s book called \u003cem>Antiracism Baby\u003c/em> and a docuseries about racism in sports on ESPN+ called \u003ca href=\"https://www.youtube.com/watch?v=rcuNcovO-Ic\">\u003cem>Skin in the Game\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>He’s also garnered some criticism, particularly after deciding earlier this year to \u003ca href=\"https://www.insidehighered.com/news/quick-takes/2023/09/25/ibram-x-kendi-defends-antiracism-center-after-layoffs\">lay off about half the staff \u003c/a>at Boston University’s Center for Antiracist Research, where he serves as founding director. But a recent audit released by the school declared \u003ca href=\"https://www.bu.edu/articles/2023/audit-finds-no-issues-at-center-for-antiracist-research/\">there were no issues \u003c/a>with how the center’s finances were handled — news which pushes back a bit against efforts to tag Kendi as some sort of racial justice profiteer.\u003c/p>\n\u003cp>In the end, Netflix’s \u003cem>Stamped from the Beginning\u003c/em> offers a well-paced and affecting look at the roots of Black-focused racism that won’t necessarily surprise those who already know this history, but may still be tough to watch for those sensitive to stories about the exploitation of marginalized people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935208","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Eventually, at the end of the film, Kendi provides his own answer to the question which started the movie’s journey:\u003c/p>\n\u003cp>“The only thing wrong with Black people,” he says, “is that we think something is wrong with Black people.”\u003c/p>\n\u003cp>\u003cem>The audio and digital stories were edited by Jennifer Vanasco.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Stamped+From+the+Beginning%27+is+a+sharp+look+at+the+history+of+anti-Black+racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\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\u003cdiv>\u003cem>‘Stamped from the Beginning’ begins streaming on Netflix on Nov. 20, 2023.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938247/stamped-from-the-beginning-documentary-review-netflix-racism","authors":["byline_arts_13938247"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_75","arts_990"],"tags":["arts_3156","arts_13672","arts_3652","arts_585"],"featImg":"arts_13938248","label":"arts_140"},"arts_13934736":{"type":"posts","id":"arts_13934736","meta":{"index":"posts_1591205157","site":"arts","id":"13934736","score":null,"sort":[1694790714000]},"guestAuthors":[],"slug":"working-while-black-other-black-girl-hulu-dreaming-showtime","title":"New TV Shows Take on the Hazard of Working While Black","publishDate":1694790714,"format":"standard","headTitle":"New TV Shows Take on the Hazard of Working While Black | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cem>(Spoiler alert: There’s a few details dropped here about Hulu’s ‘The Other Black Girl’ and ‘Dreaming Whilst Black’ on Showtime.)\u003c/em>\u003c/p>\n\u003cp>Hulu’s \u003cem>The Other Black Girl\u003c/em> kicks off with an uncomfortable scenario familiar to many who have experienced the tension of being the only Black person working in a mostly-white office — otherwise known as Working While Black.\u003c/p>\n\u003cp>[aside postid='arts_13933809']Nella, played with a deft earnestness by Sinclair Daniel, just wants to get through her duties as a frustrated, underappreciated editorial assistant at Manhattan publishing house Wagner Books. But she’s interrupted by a well-meaning white colleague who has texted her a link to a column titled: “The Token in the Corporate Machine: Being Black in a White Workplace”\u003c/p>\n\u003cp>“You know, I’m always looking for ways to be a better ally to you,” her coworker says, with an unsettling, overly energetic chirpyness. “You should read [the column], like, right now! And share if it resonates.”\u003c/p>\n\u003cp>One look at Nella’s face shows what’s really resonating: another disappointing encounter with tokenism in her workplace with someone who doesn’t actually see \u003cem>her\u003c/em>. Instead, they see some image of her shaped by their own presumptions — someone who can help fulfill their desire to feel socially progressive and impactful, regardless of what Nella actually needs or wants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7gmYkNE0wYw\u003c/p>\n\u003cp>This is the delicious anxiety explored by \u003cem>The Other Black Girl \u003c/em>and another Black-centered series which dropped on Showtime earlier this week, the British comedy \u003cem>Dreaming Whilst Black\u003c/em>. Both shows talk about race, class, gender, upward mobility and lots of other issues in compelling ways.\u003c/p>\n\u003cp>But what stuck with me was how each show speaks incisively — and asks solid questions — about what it means to be a Black person moving through a mostly white world, especially in work/office spaces. And how those spaces can pit Black folks — indeed, all marginalized people — against one another, often when they need each other most.\u003c/p>\n\u003ch3>An ally who becomes something else\u003c/h3>\n\u003cfigure id=\"attachment_13934748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-800x450.jpe\" alt=\"An attractive Black woman with long locs puts her arm around another Black woman. They look at each other warmly\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sinclair Daniel as Nella, Ashleigh Murray as Hazel on Hulu’s ‘The Other Black Girl.’ \u003ccite>(Wilford Harwood/ Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Nella’s case, she thinks a true ally has arrived when the company hires Hazel, a new editorial assistant who talks earnestly about growing up in Harlem and her graduation from the historically Black college Howard University.\u003c/p>\n\u003cp>[aside postid='arts_13933824']But when Nella decides to confront a problematic white author about a character in his new novel named Shartricia — the book’s only Black character, who has a child by a man she doesn’t know and zero friends who aren’t struggling with substance abuse issues — Hazel does not have her work sister’s back.\u003c/p>\n\u003cp>“I think Shartricia has potential,” says Hazel, given a sneaky, yet sophisticated charm by Ashleigh Murray. “I’m excited to read it again with a specific eye on her.”\u003c/p>\n\u003cp>As the saying goes, all skinfolk ain’t kinfolk.\u003c/p>\n\u003cp>Hulu’s \u003cem>The Other Black Girl \u003c/em>is based on a book by Zakiya Dalila Harris, who also co-wrote some episodes, serves as an executive producer and is sister to our own \u003cem>Pop Culture Happy Hour\u003c/em> host Aisha Harris (who had no input on NPR’s decision to cover the show). The program wears its influences and messaging on its sleeve — so the pressure that comes from Nella realizing she works in an office which values symbolic diversity over actual progress is rendered with ominous music and horror movie tropes.\u003c/p>\n\u003cp>Still, those tropes signal a bracing truth — when one other Black person makes him or herself look good in the office by sabotaging another, it can feel like that moment in \u003cem>The Shining\u003c/em> when Jack Nicholson’s character finally turns on his family.\u003c/p>\n\u003ch3>A lighter look at tokenism and microaggressions\u003c/h3>\n\u003cfigure id=\"attachment_13934749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934749\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-800x450.jpe\" alt=\"A Black man in a suit with dreadlocks tied up over his head stands in a drab kitchen with a tired looking young white man to his left and a bearded middle aged white man to his right.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Owen as Adam, Adjani Salmon as Kwabena and Toby Williams as Tom in ‘Dreaming Whilst Black.’ \u003ccite>(Anup Bhatt/ Big Deal Films/ A24/ Courtesy of SHOWTIME)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now on Showtime, the British comedy \u003cem>Dreaming Whilst Black \u003c/em>takes a lighter approach. It features co-writer Adjani Salmon as Kwabena, an aspiring film director stuck in a dead-end office job who realizes his white co-worker has asked him for film recommendations for an upcoming date — not because he’s a deft student of the industry working on his own short film — but because the white co-worker is dating a Black woman.\u003c/p>\n\u003cp>[aside postid='arts_13934372']“I’ve been Googling Black Oscar films…\u003cem>The Color Purple\u003c/em>?” the office mate says. Kwabena, ever tolerant, says, “I feel like, for a first date, you might want to choose something without rape?”\u003c/p>\n\u003cp>The office mate then moves to the next film on the list, \u003cem>12 Years a Slave\u003c/em>, prompting Kwabena to say, “Bro, that’s slavery AND rape.”\u003c/p>\n\u003cp>As the show progresses, Kwabena notes he and a South Asian woman are the only people in the office pressured to eat lunch away from their desks over the smell of their food.\u003c/p>\n\u003cp>Later, when he’s dragged to a lame karaoke bar by his co-workers and winds up facing a bar full of white people singing the n-word in a song and expecting him to join in, he quits the job on the spot. (A touch that I love: when he tells a friend who is also Black about it, she wryly notes that some rappers have made a fortune to say the n-word around white people.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kClYnLkRR1Q\u003c/p>\n\u003cp>It’s true enough that lampooning earnestly clueless white people can be like shooting fish in a barrel. But, as someone who has been that sole Black person in an office, I was really touched and entertained by the sour truth behind the easy punchlines in both shows.\u003c/p>\n\u003cp>[aside postid='arts_13934433']Both \u003cem>Dreaming Whilst Black\u003c/em> and \u003cem>The Other Black Girl\u003c/em> have a lot more to say about a lot more things. Kwabena faces all sorts of complications — many self-inflicted — while trying to get his short film made. And Nella uncovers a larger conspiracy centered on co-opting Blackness which sometimes feels like the sequel to \u003cem>Get Out\u003c/em>.\u003c/p>\n\u003cp>Underlying it all is a spot-on depiction of the wryly humorous and downright horrific moments perpetrated by white people often blithely unaware of how much power comes from simply being in the majority.\u003c/p>\n\u003cp>It’s the bittersweet icing on a sumptuous cake — incisive moments from two series whose insights on race and society speak powerfully to this modern moment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Audio and digital stories edited by\u003c/em>\u003ca href=\"https://www.npr.org/people/1091803881/jennifer-vanasco\">\u003cem> Jennifer Vanasco\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+TV+shows+take+on+the+hazard+of+Working+While+Black+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"‘The Other Black Girl’ and ‘Dreaming Whilst Black’ talk about race, class, gender and upward mobility in compelling ways.","status":"publish","parent":0,"modified":1705005020,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1163},"headData":{"title":"The Hazards of Working While Black Captured in 2 New TV Shows | KQED","description":"‘The Other Black Girl’ and ‘Dreaming Whilst Black’ talk about race, class, gender and upward mobility in compelling ways.","ogTitle":"New TV Shows Take on the Hazard of Working While Black","ogDescription":"","ogImgId":"","twTitle":"New TV Shows Take on the Hazard of Working While Black","twDescription":"","twImgId":"","socialTitle":"The Hazards of Working While Black Captured in 2 New TV Shows %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"New TV Shows Take on the Hazard of Working While Black","datePublished":"2023-09-15T15:11:54.000Z","dateModified":"2024-01-11T20:30:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":" Wilford Harwood","nprByline":"Eric Deggans","nprImageAgency":" HULU","nprStoryId":"1199231632","nprApiLink":"http://api.npr.org/query?id=1199231632&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/09/13/1199231632/tv-review-other-black-girl-dreaming-whilst-black?ft=nprml&f=1199231632","nprRetrievedStory":"1","nprPubDate":"Wed, 13 Sep 2023 16:00:00 -0400","nprStoryDate":"Wed, 13 Sep 2023 16:00:53 -0400","nprLastModifiedDate":"Wed, 13 Sep 2023 16:00:53 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13934736/working-while-black-other-black-girl-hulu-dreaming-showtime","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>(Spoiler alert: There’s a few details dropped here about Hulu’s ‘The Other Black Girl’ and ‘Dreaming Whilst Black’ on Showtime.)\u003c/em>\u003c/p>\n\u003cp>Hulu’s \u003cem>The Other Black Girl\u003c/em> kicks off with an uncomfortable scenario familiar to many who have experienced the tension of being the only Black person working in a mostly-white office — otherwise known as Working While Black.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13933809","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Nella, played with a deft earnestness by Sinclair Daniel, just wants to get through her duties as a frustrated, underappreciated editorial assistant at Manhattan publishing house Wagner Books. But she’s interrupted by a well-meaning white colleague who has texted her a link to a column titled: “The Token in the Corporate Machine: Being Black in a White Workplace”\u003c/p>\n\u003cp>“You know, I’m always looking for ways to be a better ally to you,” her coworker says, with an unsettling, overly energetic chirpyness. “You should read [the column], like, right now! And share if it resonates.”\u003c/p>\n\u003cp>One look at Nella’s face shows what’s really resonating: another disappointing encounter with tokenism in her workplace with someone who doesn’t actually see \u003cem>her\u003c/em>. Instead, they see some image of her shaped by their own presumptions — someone who can help fulfill their desire to feel socially progressive and impactful, regardless of what Nella actually needs or wants.\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/7gmYkNE0wYw'\n title='//www.youtube.com/embed/7gmYkNE0wYw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is the delicious anxiety explored by \u003cem>The Other Black Girl \u003c/em>and another Black-centered series which dropped on Showtime earlier this week, the British comedy \u003cem>Dreaming Whilst Black\u003c/em>. Both shows talk about race, class, gender, upward mobility and lots of other issues in compelling ways.\u003c/p>\n\u003cp>But what stuck with me was how each show speaks incisively — and asks solid questions — about what it means to be a Black person moving through a mostly white world, especially in work/office spaces. And how those spaces can pit Black folks — indeed, all marginalized people — against one another, often when they need each other most.\u003c/p>\n\u003ch3>An ally who becomes something else\u003c/h3>\n\u003cfigure id=\"attachment_13934748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-800x450.jpe\" alt=\"An attractive Black woman with long locs puts her arm around another Black woman. They look at each other warmly\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/tobg-nella-and-hazel_wide-c0afb7d194266775e99841b2a1b35852b600ee45-1-e1694638917331.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sinclair Daniel as Nella, Ashleigh Murray as Hazel on Hulu’s ‘The Other Black Girl.’ \u003ccite>(Wilford Harwood/ Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Nella’s case, she thinks a true ally has arrived when the company hires Hazel, a new editorial assistant who talks earnestly about growing up in Harlem and her graduation from the historically Black college Howard University.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13933824","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But when Nella decides to confront a problematic white author about a character in his new novel named Shartricia — the book’s only Black character, who has a child by a man she doesn’t know and zero friends who aren’t struggling with substance abuse issues — Hazel does not have her work sister’s back.\u003c/p>\n\u003cp>“I think Shartricia has potential,” says Hazel, given a sneaky, yet sophisticated charm by Ashleigh Murray. “I’m excited to read it again with a specific eye on her.”\u003c/p>\n\u003cp>As the saying goes, all skinfolk ain’t kinfolk.\u003c/p>\n\u003cp>Hulu’s \u003cem>The Other Black Girl \u003c/em>is based on a book by Zakiya Dalila Harris, who also co-wrote some episodes, serves as an executive producer and is sister to our own \u003cem>Pop Culture Happy Hour\u003c/em> host Aisha Harris (who had no input on NPR’s decision to cover the show). The program wears its influences and messaging on its sleeve — so the pressure that comes from Nella realizing she works in an office which values symbolic diversity over actual progress is rendered with ominous music and horror movie tropes.\u003c/p>\n\u003cp>Still, those tropes signal a bracing truth — when one other Black person makes him or herself look good in the office by sabotaging another, it can feel like that moment in \u003cem>The Shining\u003c/em> when Jack Nicholson’s character finally turns on his family.\u003c/p>\n\u003ch3>A lighter look at tokenism and microaggressions\u003c/h3>\n\u003cfigure id=\"attachment_13934749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13934749\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-800x450.jpe\" alt=\"A Black man in a suit with dreadlocks tied up over his head stands in a drab kitchen with a tired looking young white man to his left and a bearded middle aged white man to his right.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/dreamingwhilstblack_kwabena-in-office_wide-ac8228794af83ac911bc90b36f2cf7da0d85c928-1-scaled-e1694638986279.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Owen as Adam, Adjani Salmon as Kwabena and Toby Williams as Tom in ‘Dreaming Whilst Black.’ \u003ccite>(Anup Bhatt/ Big Deal Films/ A24/ Courtesy of SHOWTIME)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now on Showtime, the British comedy \u003cem>Dreaming Whilst Black \u003c/em>takes a lighter approach. It features co-writer Adjani Salmon as Kwabena, an aspiring film director stuck in a dead-end office job who realizes his white co-worker has asked him for film recommendations for an upcoming date — not because he’s a deft student of the industry working on his own short film — but because the white co-worker is dating a Black woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13934372","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I’ve been Googling Black Oscar films…\u003cem>The Color Purple\u003c/em>?” the office mate says. Kwabena, ever tolerant, says, “I feel like, for a first date, you might want to choose something without rape?”\u003c/p>\n\u003cp>The office mate then moves to the next film on the list, \u003cem>12 Years a Slave\u003c/em>, prompting Kwabena to say, “Bro, that’s slavery AND rape.”\u003c/p>\n\u003cp>As the show progresses, Kwabena notes he and a South Asian woman are the only people in the office pressured to eat lunch away from their desks over the smell of their food.\u003c/p>\n\u003cp>Later, when he’s dragged to a lame karaoke bar by his co-workers and winds up facing a bar full of white people singing the n-word in a song and expecting him to join in, he quits the job on the spot. (A touch that I love: when he tells a friend who is also Black about it, she wryly notes that some rappers have made a fortune to say the n-word around white people.)\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/kClYnLkRR1Q'\n title='//www.youtube.com/embed/kClYnLkRR1Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s true enough that lampooning earnestly clueless white people can be like shooting fish in a barrel. But, as someone who has been that sole Black person in an office, I was really touched and entertained by the sour truth behind the easy punchlines in both shows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13934433","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Both \u003cem>Dreaming Whilst Black\u003c/em> and \u003cem>The Other Black Girl\u003c/em> have a lot more to say about a lot more things. Kwabena faces all sorts of complications — many self-inflicted — while trying to get his short film made. And Nella uncovers a larger conspiracy centered on co-opting Blackness which sometimes feels like the sequel to \u003cem>Get Out\u003c/em>.\u003c/p>\n\u003cp>Underlying it all is a spot-on depiction of the wryly humorous and downright horrific moments perpetrated by white people often blithely unaware of how much power comes from simply being in the majority.\u003c/p>\n\u003cp>It’s the bittersweet icing on a sumptuous cake — incisive moments from two series whose insights on race and society speak powerfully to this modern moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio and digital stories edited by\u003c/em>\u003ca href=\"https://www.npr.org/people/1091803881/jennifer-vanasco\">\u003cem> Jennifer Vanasco\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+TV+shows+take+on+the+hazard+of+Working+While+Black+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13934736/working-while-black-other-black-girl-hulu-dreaming-showtime","authors":["byline_arts_13934736"],"programs":["arts_140"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_3652","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13934737","label":"arts_140"},"arts_13933481":{"type":"posts","id":"arts_13933481","meta":{"index":"posts_1591205157","site":"arts","id":"13933481","score":null,"sort":[1692383217000]},"guestAuthors":[],"slug":"the-blind-side-drama-just-proves-the-cheap-meaningless-hope-of-white-savior-films","title":"‘The Blind Side’ Drama Just Proves the Cheap, Meaningless Hope of White Savior Films","publishDate":1692383217,"format":"standard","headTitle":"‘The Blind Side’ Drama Just Proves the Cheap, Meaningless Hope of White Savior Films | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>For nearly 15 years, two things have been unquestionably true about \u003cem>The Blind Side\u003c/em>, the 2009 blockbuster inspired by the early life of ex-NFL star Michael Oher: It won Sandra Bullock her best actress Oscar for playing Leigh Anne Tuohy, and it’s become a poster child for Hollywood’s “white savior” narratives, nestled comfortably alongside maudlin peers like \u003cem>Dangerous Minds \u003c/em>and \u003cem>The Help\u003c/em>.\u003c/p>\n\u003cp>But everything else relating to this story is far more complicated. While the movie and Michael Lewis’s book of the same name claim Tuohy and her family legally adopted Oher at 18, he recently \u003ca href=\"https://www.kqed.org/arts/13933167\">filed a petition alleging he was unknowingly coerced\u003c/a> into a conservatorship, one he’s still under to this day. (He’s now 37.) He also claims the Tuohy family profited off the movie while he received nothing; in response, Leigh Anne and her husband Sean accuse Oher of a “\u003ca href=\"https://www.npr.org/2023/08/17/1194217793/michael-oher-the-blind-side-tuohy-family-petition-conservatorship\">shakedown\u003c/a>” and deny making money off the film. Somehow, \u003cem>The Blind Side \u003c/em>now seems even ickier.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gvqj_Tk_kuM\u003c/p>\n\u003cp>By now, the movie has been appropriately excoriated for being the sentimental trash it is, and these new allegations from Oher only buttress every critique made about it over the years. But even as ostensible truths come to light, the residue remains of that pesky little bugaboo of unrelenting post-racial idealism, a fixture of far too many old and new narratives.\u003c/p>\n\u003cp>Hollywood is known as a dream factory, and when you’re in the business of producing dreams, any attempts to depict reality are going to be elided, embellished, or completely distorted. These sweet dreams can be made of destitute, downtrodden people of color, and the noble white individuals courageous enough to “help” them get out of their destitution and downtrodden-ness, as in the Hilary Swank classroom drama \u003cem>Freedom Writers\u003c/em>. Or they can be wholly imagined worlds where our most pressing social issues are resolved via the unlikely “bonds” of the historically marginalized and their would-be oppressors a la \u003cem>Green Book. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And so yes, you get a movie like \u003cem>The Blind Side\u003c/em>, but also something like \u003cem>Losing Isaiah\u003c/em>, a 1995 melodrama that directly and messily proposes two central questions, per one of its producers: \u003ca href=\"https://www.latimes.com/archives/la-xpm-1995-03-17-ca-43795-story.html\">“Who’s to say who is a mother?” and “Should a white person raise a Black child?”\u003c/a>\u003c/p>\n\u003cp>[aside postid='arts_13881907']Halle Berry stars as Khaila, a crack addict who stashes her infant son in a dumpster to go get high, only to discover later he’s disappeared. She’s distraught and believes he died, but he barely escapes being crushed by a garbage truck before he’s rushed to the hospital, where he’s looked after by Margaret, a social worker played by Jessica Lange. Isaiah is nursed back to health, and Margaret and her husband legally adopt the child. A few short years later, Khaila is clean and getting her life back on track; when she learns that Isaiah is alive, she seeks to regain her parental rights, to Margaret’s horror. They duke it out in family court, with Khaila’s lawyer (Samuel L. Jackson) arguing a Black child is better off with a Black family.\u003c/p>\n\u003cp>On the stand, Margaret protests that “it’ll kill [Isaiah]” if he’s taken away from them. Khaila’s lawyer shoots back: “Oh, so only \u003cem>you \u003c/em>can save him? You’re the Great White Hope?”\u003c/p>\n\u003cp>“No, but I \u003cem>am his \u003c/em>mother.”\u003c/p>\n\u003cp>“Are you?”\u003c/p>\n\u003cp>Eventually, the child is ordered to be returned to Khaila, shattering Margaret’s world and Isaiah’s, too; he has trouble adjusting to life with this stranger, who happens to be his biological mother, and has frequent meltdowns.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X5i-SK8I8-w\u003c/p>\n\u003cp>Like \u003cem>The Blind Side\u003c/em>,\u003cem> Losing Isaiah \u003c/em>was unsurprisingly polarizing at the time of its release, though perhaps because of its arrival in the pre-social media era, its complicated legacy isn’t as readily remembered. Yet its effects are the same — it traffics in the flimsy lane of “understanding/reconciliation” between its Black and white characters. The movie’s final image is of Khaila and Margaret playing peacefully with Isaiah in his classroom, mere moments after Khaila has admitted that taking him away from the only mom he’s ever known so soon is traumatizing and that she’ll temporarily return him to Margaret. All is ostensibly well — both women clearly love Isaiah. But the ending is a pure flight of fancy, as if it’s at all believable that a Black woman would get her kid back after giving him up a \u003cem>second\u003c/em> time.\u003c/p>\n\u003cp>Anytime a movie like this is made, its creators usually argue their creative ambitions are built upon a desire to “start a dialogue.” “We intended to say that there is no simple answer and we’d better start talking to each other about this,” said \u003cem>Losing Isaiah \u003c/em>director Stephen Gyllenhaal.\u003c/p>\n\u003cp>[aside postid='arts_13932939']Or, to “inspire” or provide “hope” — you know, the sort of meaningless words commonly found sewn into pillows or printed onto mugs. “This movie was intended to lift people up — bring out the best in people, not the worst,” said one of \u003cem>The Blind Side\u003c/em>‘s producers at the time, Broderick Johnson. The road to hell, as they say, is paved with good intentions.\u003c/p>\n\u003cp>Oher also commented on that movie’s success to a journalist in 2009, though he seemed more ambivalent: “I guess people are looking for hope. They want something to build on.”\u003c/p>\n\u003cp>“Hope” can be a lifeline, but it can also be a crutch or a cloak for pretending racism isn’t truly a widespread issue. In this sense, these thinly sketched movies allow people to convince themselves that racial inequality is an individual problem rather than a systemic one, combatted via one savior at a time. They give fuel to conservatives who willfully distort Martin Luther King, Jr.’s optimism while ignoring his \u003ca href=\"https://www.latimes.com/opinion/story/2023-01-16/martin-luther-king-jr-radical-politics\">searing criticisms\u003c/a>. It allows white people like the Tuohy family to simultaneously pity Black people while unwittingly reinforcing the structures that encourage their pity. (In case you missed it, about a decade ago, \u003ca href=\"https://bellejar.ca/2014/12/15/leigh-anne-tuohy-racism-and-the-white-saviour-complex/comment-page-7/\">Leigh Anne was called out by two Black teen boys\u003c/a> for assuming they were up to no good, and then, upon learning they were just two Black teens minding their own business, using them as a photo op to preach about how we shouldn’t “judge a book by its cover” in a Facebook post.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Hope alone cannot power a two-hour movie, which is so often an inadequate landscape for even beginning to scratch the surface of such complex issues as transracial adoption or a flailing education system. (Which is why a slow-burn series like \u003cem>The Wire \u003c/em>remains an extraordinary example of the form.) And hope alone cannot account for the fact that Michael Oher seems to feel as though he’s been exploited by the very people who “saved” him.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Blind+Side%27+drama+just+proves+the+cheap%2C+meaningless+hope+of+white+savior+films&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"These thinly sketched movies allow people to believe that racial inequality is an individual problem rather than a systemic one.","status":"publish","parent":0,"modified":1705005133,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1235},"headData":{"title":"‘The Blind Side’ Drama Just Proves the Cheap, Meaningless Hope of White Savior Films | KQED","description":"These thinly sketched movies allow people to believe that racial inequality is an individual problem rather than a systemic one.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘The Blind Side’ Drama Just Proves the Cheap, Meaningless Hope of White Savior Films","datePublished":"2023-08-18T18:26:57.000Z","dateModified":"2024-01-11T20:32:13.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Scott Cunningham","nprByline":"Aisha Harris","nprImageAgency":"Getty Images","nprStoryId":"1194535397","nprApiLink":"http://api.npr.org/query?id=1194535397&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/08/18/1194535397/the-blind-side-michael-oher-white-savior?ft=nprml&f=1194535397","nprRetrievedStory":"1","nprPubDate":"Fri, 18 Aug 2023 11:19:00 -0400","nprStoryDate":"Fri, 18 Aug 2023 11:19:12 -0400","nprLastModifiedDate":"Fri, 18 Aug 2023 11:19:12 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13933481/the-blind-side-drama-just-proves-the-cheap-meaningless-hope-of-white-savior-films","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For nearly 15 years, two things have been unquestionably true about \u003cem>The Blind Side\u003c/em>, the 2009 blockbuster inspired by the early life of ex-NFL star Michael Oher: It won Sandra Bullock her best actress Oscar for playing Leigh Anne Tuohy, and it’s become a poster child for Hollywood’s “white savior” narratives, nestled comfortably alongside maudlin peers like \u003cem>Dangerous Minds \u003c/em>and \u003cem>The Help\u003c/em>.\u003c/p>\n\u003cp>But everything else relating to this story is far more complicated. While the movie and Michael Lewis’s book of the same name claim Tuohy and her family legally adopted Oher at 18, he recently \u003ca href=\"https://www.kqed.org/arts/13933167\">filed a petition alleging he was unknowingly coerced\u003c/a> into a conservatorship, one he’s still under to this day. (He’s now 37.) He also claims the Tuohy family profited off the movie while he received nothing; in response, Leigh Anne and her husband Sean accuse Oher of a “\u003ca href=\"https://www.npr.org/2023/08/17/1194217793/michael-oher-the-blind-side-tuohy-family-petition-conservatorship\">shakedown\u003c/a>” and deny making money off the film. Somehow, \u003cem>The Blind Side \u003c/em>now seems even ickier.\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/gvqj_Tk_kuM'\n title='//www.youtube.com/embed/gvqj_Tk_kuM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By now, the movie has been appropriately excoriated for being the sentimental trash it is, and these new allegations from Oher only buttress every critique made about it over the years. But even as ostensible truths come to light, the residue remains of that pesky little bugaboo of unrelenting post-racial idealism, a fixture of far too many old and new narratives.\u003c/p>\n\u003cp>Hollywood is known as a dream factory, and when you’re in the business of producing dreams, any attempts to depict reality are going to be elided, embellished, or completely distorted. These sweet dreams can be made of destitute, downtrodden people of color, and the noble white individuals courageous enough to “help” them get out of their destitution and downtrodden-ness, as in the Hilary Swank classroom drama \u003cem>Freedom Writers\u003c/em>. Or they can be wholly imagined worlds where our most pressing social issues are resolved via the unlikely “bonds” of the historically marginalized and their would-be oppressors a la \u003cem>Green Book. \u003c/em>\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>And so yes, you get a movie like \u003cem>The Blind Side\u003c/em>, but also something like \u003cem>Losing Isaiah\u003c/em>, a 1995 melodrama that directly and messily proposes two central questions, per one of its producers: \u003ca href=\"https://www.latimes.com/archives/la-xpm-1995-03-17-ca-43795-story.html\">“Who’s to say who is a mother?” and “Should a white person raise a Black child?”\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13881907","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Halle Berry stars as Khaila, a crack addict who stashes her infant son in a dumpster to go get high, only to discover later he’s disappeared. She’s distraught and believes he died, but he barely escapes being crushed by a garbage truck before he’s rushed to the hospital, where he’s looked after by Margaret, a social worker played by Jessica Lange. Isaiah is nursed back to health, and Margaret and her husband legally adopt the child. A few short years later, Khaila is clean and getting her life back on track; when she learns that Isaiah is alive, she seeks to regain her parental rights, to Margaret’s horror. They duke it out in family court, with Khaila’s lawyer (Samuel L. Jackson) arguing a Black child is better off with a Black family.\u003c/p>\n\u003cp>On the stand, Margaret protests that “it’ll kill [Isaiah]” if he’s taken away from them. Khaila’s lawyer shoots back: “Oh, so only \u003cem>you \u003c/em>can save him? You’re the Great White Hope?”\u003c/p>\n\u003cp>“No, but I \u003cem>am his \u003c/em>mother.”\u003c/p>\n\u003cp>“Are you?”\u003c/p>\n\u003cp>Eventually, the child is ordered to be returned to Khaila, shattering Margaret’s world and Isaiah’s, too; he has trouble adjusting to life with this stranger, who happens to be his biological mother, and has frequent meltdowns.\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/X5i-SK8I8-w'\n title='//www.youtube.com/embed/X5i-SK8I8-w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like \u003cem>The Blind Side\u003c/em>,\u003cem> Losing Isaiah \u003c/em>was unsurprisingly polarizing at the time of its release, though perhaps because of its arrival in the pre-social media era, its complicated legacy isn’t as readily remembered. Yet its effects are the same — it traffics in the flimsy lane of “understanding/reconciliation” between its Black and white characters. The movie’s final image is of Khaila and Margaret playing peacefully with Isaiah in his classroom, mere moments after Khaila has admitted that taking him away from the only mom he’s ever known so soon is traumatizing and that she’ll temporarily return him to Margaret. All is ostensibly well — both women clearly love Isaiah. But the ending is a pure flight of fancy, as if it’s at all believable that a Black woman would get her kid back after giving him up a \u003cem>second\u003c/em> time.\u003c/p>\n\u003cp>Anytime a movie like this is made, its creators usually argue their creative ambitions are built upon a desire to “start a dialogue.” “We intended to say that there is no simple answer and we’d better start talking to each other about this,” said \u003cem>Losing Isaiah \u003c/em>director Stephen Gyllenhaal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932939","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Or, to “inspire” or provide “hope” — you know, the sort of meaningless words commonly found sewn into pillows or printed onto mugs. “This movie was intended to lift people up — bring out the best in people, not the worst,” said one of \u003cem>The Blind Side\u003c/em>‘s producers at the time, Broderick Johnson. The road to hell, as they say, is paved with good intentions.\u003c/p>\n\u003cp>Oher also commented on that movie’s success to a journalist in 2009, though he seemed more ambivalent: “I guess people are looking for hope. They want something to build on.”\u003c/p>\n\u003cp>“Hope” can be a lifeline, but it can also be a crutch or a cloak for pretending racism isn’t truly a widespread issue. In this sense, these thinly sketched movies allow people to convince themselves that racial inequality is an individual problem rather than a systemic one, combatted via one savior at a time. They give fuel to conservatives who willfully distort Martin Luther King, Jr.’s optimism while ignoring his \u003ca href=\"https://www.latimes.com/opinion/story/2023-01-16/martin-luther-king-jr-radical-politics\">searing criticisms\u003c/a>. It allows white people like the Tuohy family to simultaneously pity Black people while unwittingly reinforcing the structures that encourage their pity. (In case you missed it, about a decade ago, \u003ca href=\"https://bellejar.ca/2014/12/15/leigh-anne-tuohy-racism-and-the-white-saviour-complex/comment-page-7/\">Leigh Anne was called out by two Black teen boys\u003c/a> for assuming they were up to no good, and then, upon learning they were just two Black teens minding their own business, using them as a photo op to preach about how we shouldn’t “judge a book by its cover” in a Facebook post.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hope alone cannot power a two-hour movie, which is so often an inadequate landscape for even beginning to scratch the surface of such complex issues as transracial adoption or a flailing education system. (Which is why a slow-burn series like \u003cem>The Wire \u003c/em>remains an extraordinary example of the form.) And hope alone cannot account for the fact that Michael Oher seems to feel as though he’s been exploited by the very people who “saved” him.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Blind+Side%27+drama+just+proves+the+cheap%2C+meaningless+hope+of+white+savior+films&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13933481/the-blind-side-drama-just-proves-the-cheap-meaningless-hope-of-white-savior-films","authors":["byline_arts_13933481"],"categories":["arts_1","arts_74","arts_75","arts_13238"],"tags":["arts_928","arts_8393","arts_2565","arts_3652"],"affiliates":["arts_137"],"featImg":"arts_13933482","label":"arts_137"},"arts_13932939":{"type":"posts","id":"arts_13932939","meta":{"index":"posts_1591205157","site":"arts","id":"13932939","score":null,"sort":[1691693670000]},"guestAuthors":[],"slug":"ive-spent-my-career-explaining-race-but-hit-a-wall-with-montgomery-brawl-memes","title":"I've Spent My Career Explaining Race, But Hit a Wall With Montgomery Brawl Memes","publishDate":1691693670,"format":"standard","headTitle":"I’ve Spent My Career Explaining Race, But Hit a Wall With Montgomery Brawl Memes | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>When you’ve built a career around explaining race and racism to people, what happens when you find a moment you just don’t want to explain?\u003c/p>\n\u003cp>[aside postid='arts_13932887']That time came for me this week, as memes were rocketing around social media connected \u003ca href=\"https://www.npr.org/2023/08/07/1192460342/montgomery-riverfront-brawl\">to the brawl in Montgomery, Ala\u003c/a>., where a crowd of mostly-Black bystanders ran to help a Black riverboat co-captain who was being assaulted by a group of white people. He had been attempting to move their pontoon boat, since it was blocking the ferry from docking in its regular space.\u003c/p>\n\u003cp>Video \u003ca href=\"https://youtu.be/-YUSZW5Px6o\">from various bystanders around the dock\u003c/a> captured it all: The co-captain throwing his hat in the air, once a white man pushed him harshly; a different Black man whaling on people with a folding chair, including a white woman who was just sitting on the ground by then; a young Black man on a boat close by who jumped into the water and swam with amazing speed to the scene, jumping up to throw hands.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8JdLnCp17Jc\u003c/p>\n\u003cp>And, in moments, Black Twitter \u003ca href=\"https://www.npr.org/2023/08/09/1192866104/montgomery-brawl-doesnt-constitute-hate-crime-charges-police-chief-says\">jumped to life\u003c/a> (I know the social media platform is renamed X, but — for the purposes of this piece — I’m using the term to describe people being Black across lots of social media platforms. Harrumph).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/blackkingkofi/status/1688604623727112192\u003c/p>\n\u003cp>There were images of people carrying folding chairs like holstered weapons. There was the graphic pointing out that an early design of the folding chair was patented by a Black man (\u003ca href=\"https://www.thoughtco.com/nathaniel-alexander-folding-chair-4074172\">seems to be true\u003c/a>). The \u003ca href=\"https://twitter.com/Deggans/status/1688660357202546688?s=20\">photoshopped picture showing glowing rings\u003c/a> around Black folks rushing into the fight, mimicking the climax of \u003cem>Avengers: Endgame\u003c/em>, where superheroes rushed in to save the day. A \u003ca href=\"https://twitter.com/naima/status/1688624327309082626?s=20\">spirited re-enactment\u003c/a> of the fight around someone’s backyard pool which amped up the absurd humor of it all. Images dubbing the young swimmer Black Aquaman, Aquamayne and Blaquaman.\u003c/p>\n\u003cp>https://twitter.com/Pleightx/status/1688924617937981440\u003c/p>\n\u003cp>And two of my personal faves: A photoshopped image of the Martin Luther King Jr. statue holding a folding chair. And a version of the video remade as the opening to classic Black sitcom \u003cem>Good Times\u003c/em>, with acerbic credits noting the show was “created by Consequences & Repercussions.”\u003c/p>\n\u003cp>https://twitter.com/WUTangKids/status/1689044660977635329\u003c/p>\n\u003cp>I was blown away by how quickly folks across social media — especially Black folks — were converting horror over a narrowly-averted, racialized beat down into funny memes celebrating the reflex of Black folks to stand up for one another, especially when we’re faced with danger from white people.\u003c/p>\n\u003cp>But when I posted the photo of MLK’s statue with the folding chair on my social media feeds, I just added one word: Wow.\u003c/p>\n\u003cp>[aside postid='arts_13932753']I wanted the image to speak for itself. And I wanted people who had questions about what it meant to jump into social media and find out for themselves. I felt the image and its implied humor — that the nation’s most revered civil rights leader might be hoisting a folding chair to defend Black folks in the modern age — was most powerful when not explained.\u003c/p>\n\u003cp>Unfortunately, some people on my social media platforms insisted on an explanation. One was pretty persistent about it. And I realized I just didn’t want to explain the image, for some reason I couldn’t quite put my finger on.\u003c/p>\n\u003ch3>When explaining becomes too much of a burden\u003c/h3>\n\u003cp>Yeah, it’s sometimes tiring to always be asked to explain your cultural nuances to the world. But that’s the gig I signed up for, many years ago, when I decided to write about race and media regularly. And yes, all the social media joking was hiding a fear that today’s political climate has left racists emboldened to attack a Black man in broad daylight for doing his job. So explaining the memes only resurfaced those darker feelings in ways I wasn’t quite ready to process right away.\u003c/p>\n\u003cp>Still, something else was also at play.\u003c/p>\n\u003cp>[aside postid='arts_13931436']I always say social media is often like a giant dinner party, where people forget they are sometimes listening in on conversations between other people. In this case, being asked to explain the folding chair memes felt like having someone barge into an ongoing conversation to ask for an explanation.\u003c/p>\n\u003cp>As I traded messages with people and retweeted the best memes, this felt like a moment where folks could be hilariously Black online and we could all share the experience together, laughing and consoling each other in one viral social media moment.\u003c/p>\n\u003cp>Someone popping up to demand an explanation felt like they were re-centering the conversation in a way I just wasn’t willing to do right away.\u003c/p>\n\u003cp>Sometimes, in situations like that, understanding comes best by sitting back, listening widely, and learning. Even for me.\u003c/p>\n\u003cp>I originally wrote a version of this column for my personal Tumblr page, mostly as a way of processing a response that was new and unfamiliar for me. I don’t know if this reaction is fair — especially given how much I’ve encouraged discussion about race over the years.\u003c/p>\n\u003cp>But it’s all I have left, in a world where I increasingly feel like a frog in pot of steadily heating water, watching racists and racism get bolder — wondering when the heat will begin to burn me, my loved ones, my family, my friends and my people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Or when I’ll need to reach out for aid from a helpful brother with a folding chair.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=I%27ve+spent+my+career+explaining+race%2C+but+hit+a+wall+with+Montgomery+brawl+memes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"When you've built a career around explaining racism to people, what happens when you find a moment you don't want to explain?","status":"publish","parent":0,"modified":1705005170,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":965},"headData":{"title":"Montgomery Boat Brawl: Memes and a Cultural Moment | KQED","description":"When you've built a career around explaining racism to people, what happens when you find a moment you don't want to explain?","ogTitle":"I've Spent My Career Explaining Race, But Hit a Wall With Montgomery Brawl Memes","ogDescription":"","ogImgId":"","twTitle":"I've Spent My Career Explaining Race, But Hit a Wall With Montgomery Brawl Memes","twDescription":"","twImgId":"","socialTitle":"Montgomery Boat Brawl: Memes and a Cultural Moment %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"I've Spent My Career Explaining Race, But Hit a Wall With Montgomery Brawl Memes","datePublished":"2023-08-10T18:54:30.000Z","dateModified":"2024-01-11T20:32:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"@Josh_Moon","nprByline":"Eric Deggans","nprImageAgency":"Screenshot by NPR","nprStoryId":"1193091939","nprApiLink":"http://api.npr.org/query?id=1193091939&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/08/10/1193091939/montgomery-brawl-memes?ft=nprml&f=1193091939","nprRetrievedStory":"1","nprPubDate":"Thu, 10 Aug 2023 11:49:00 -0400","nprStoryDate":"Thu, 10 Aug 2023 11:37:11 -0400","nprLastModifiedDate":"Thu, 10 Aug 2023 11:49:50 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13932939/ive-spent-my-career-explaining-race-but-hit-a-wall-with-montgomery-brawl-memes","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you’ve built a career around explaining race and racism to people, what happens when you find a moment you just don’t want to explain?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932887","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>That time came for me this week, as memes were rocketing around social media connected \u003ca href=\"https://www.npr.org/2023/08/07/1192460342/montgomery-riverfront-brawl\">to the brawl in Montgomery, Ala\u003c/a>., where a crowd of mostly-Black bystanders ran to help a Black riverboat co-captain who was being assaulted by a group of white people. He had been attempting to move their pontoon boat, since it was blocking the ferry from docking in its regular space.\u003c/p>\n\u003cp>Video \u003ca href=\"https://youtu.be/-YUSZW5Px6o\">from various bystanders around the dock\u003c/a> captured it all: The co-captain throwing his hat in the air, once a white man pushed him harshly; a different Black man whaling on people with a folding chair, including a white woman who was just sitting on the ground by then; a young Black man on a boat close by who jumped into the water and swam with amazing speed to the scene, jumping up to throw hands.\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/8JdLnCp17Jc'\n title='//www.youtube.com/embed/8JdLnCp17Jc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And, in moments, Black Twitter \u003ca href=\"https://www.npr.org/2023/08/09/1192866104/montgomery-brawl-doesnt-constitute-hate-crime-charges-police-chief-says\">jumped to life\u003c/a> (I know the social media platform is renamed X, but — for the purposes of this piece — I’m using the term to describe people being Black across lots of social media platforms. Harrumph).\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1688604623727112192"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>There were images of people carrying folding chairs like holstered weapons. There was the graphic pointing out that an early design of the folding chair was patented by a Black man (\u003ca href=\"https://www.thoughtco.com/nathaniel-alexander-folding-chair-4074172\">seems to be true\u003c/a>). The \u003ca href=\"https://twitter.com/Deggans/status/1688660357202546688?s=20\">photoshopped picture showing glowing rings\u003c/a> around Black folks rushing into the fight, mimicking the climax of \u003cem>Avengers: Endgame\u003c/em>, where superheroes rushed in to save the day. A \u003ca href=\"https://twitter.com/naima/status/1688624327309082626?s=20\">spirited re-enactment\u003c/a> of the fight around someone’s backyard pool which amped up the absurd humor of it all. Images dubbing the young swimmer Black Aquaman, Aquamayne and Blaquaman.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1688924617937981440"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And two of my personal faves: A photoshopped image of the Martin Luther King Jr. statue holding a folding chair. And a version of the video remade as the opening to classic Black sitcom \u003cem>Good Times\u003c/em>, with acerbic credits noting the show was “created by Consequences & Repercussions.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1689044660977635329"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I was blown away by how quickly folks across social media — especially Black folks — were converting horror over a narrowly-averted, racialized beat down into funny memes celebrating the reflex of Black folks to stand up for one another, especially when we’re faced with danger from white people.\u003c/p>\n\u003cp>But when I posted the photo of MLK’s statue with the folding chair on my social media feeds, I just added one word: Wow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932753","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>I wanted the image to speak for itself. And I wanted people who had questions about what it meant to jump into social media and find out for themselves. I felt the image and its implied humor — that the nation’s most revered civil rights leader might be hoisting a folding chair to defend Black folks in the modern age — was most powerful when not explained.\u003c/p>\n\u003cp>Unfortunately, some people on my social media platforms insisted on an explanation. One was pretty persistent about it. And I realized I just didn’t want to explain the image, for some reason I couldn’t quite put my finger on.\u003c/p>\n\u003ch3>When explaining becomes too much of a burden\u003c/h3>\n\u003cp>Yeah, it’s sometimes tiring to always be asked to explain your cultural nuances to the world. But that’s the gig I signed up for, many years ago, when I decided to write about race and media regularly. And yes, all the social media joking was hiding a fear that today’s political climate has left racists emboldened to attack a Black man in broad daylight for doing his job. So explaining the memes only resurfaced those darker feelings in ways I wasn’t quite ready to process right away.\u003c/p>\n\u003cp>Still, something else was also at play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931436","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>I always say social media is often like a giant dinner party, where people forget they are sometimes listening in on conversations between other people. In this case, being asked to explain the folding chair memes felt like having someone barge into an ongoing conversation to ask for an explanation.\u003c/p>\n\u003cp>As I traded messages with people and retweeted the best memes, this felt like a moment where folks could be hilariously Black online and we could all share the experience together, laughing and consoling each other in one viral social media moment.\u003c/p>\n\u003cp>Someone popping up to demand an explanation felt like they were re-centering the conversation in a way I just wasn’t willing to do right away.\u003c/p>\n\u003cp>Sometimes, in situations like that, understanding comes best by sitting back, listening widely, and learning. Even for me.\u003c/p>\n\u003cp>I originally wrote a version of this column for my personal Tumblr page, mostly as a way of processing a response that was new and unfamiliar for me. I don’t know if this reaction is fair — especially given how much I’ve encouraged discussion about race over the years.\u003c/p>\n\u003cp>But it’s all I have left, in a world where I increasingly feel like a frog in pot of steadily heating water, watching racists and racism get bolder — wondering when the heat will begin to burn me, my loved ones, my family, my friends and my people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Or when I’ll need to reach out for aid from a helpful brother with a folding chair.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=I%27ve+spent+my+career+explaining+race%2C+but+hit+a+wall+with+Montgomery+brawl+memes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932939/ive-spent-my-career-explaining-race-but-hit-a-wall-with-montgomery-brawl-memes","authors":["byline_arts_13932939"],"categories":["arts_1","arts_2303","arts_75"],"tags":["arts_2305","arts_3650","arts_3652","arts_8491"],"affiliates":["arts_137"],"featImg":"arts_13932940","label":"arts_137"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. 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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. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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