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Category Archives: African American Documentary

‘Free Angela’ revels in Angela Davis’ political rise and liberation

Activist Angela Davis attends Black Girls Rock! 2011 at the Paradise Theater on October 15, 2011 in New York City. (Photo by John W. Ferguson/Getty Images)

by Courtney Garcia

Many words describe Angela Davis – radical, intellectual, Communist, feminist, rebel, scholar, revolutionary– but the story of her life can be defined by one: justice.

As a civil rights activist and prison abolitionist, Davis has spent decades fighting for a fair society, and in the process, circumventing the systematic prejudices she so fervently denounces. In the new documentaryFree Angela and All Political Prisoners, filmmaker Shola Lynch explores the moment 41 years ago that Davis became an international political icon, a woman both exalted and vilified as she fought for the right to assert her beliefs, her speech and consequently her liberty.

“In the landscape of that period, when you think about political figures, when you think about mass media figures, there are very few examples, if any, of strong women,” Lynch tells theGrio. “Let alone strong black women.”

The movie centers on Davis’ implication in a courthouse murder, kidnapping, and conspiracy effort on August 7, 1970 in Marin County, California, the trial that ensued thereafter and Davis’ eventual acquittal. Though only 26 years old at the time, it was the culmination of a riotous period in Davis’ life, where she had already been labeled a terrorist by the government, and fired from her job as a professor at UCLA.

“Angela Davis is associated with [the Black Panthers] and she stands up for her rights and her beliefs,” Lynch explains. “It starts with UCLA and standing up for her job. It went against the school policy and the law, I’m pretty sure, for the school to try and fire her for being a Communist…That’s what democracy is all about, that we have freedom of speech, and academic freedom, within the context of the university, to discuss ideas that may or may not be popular. So, the idea that she was standing up for her rights unequivocally is very attractive.”

After receiving death threats for her socialist ties, Davis was linked to George Jackson, a Panther and member of the Soledad Brothers trio, when a gun she’d purchased for defense was used during his courthouse ambush. Several people were killed, and Davis was indicted for her connection to the crime. She went into hiding following the incident, becoming the third woman ever to appear on the FBI’s Ten Most Wanted List, and was eventually captured and detained without bail as she went on trial.

Lynch spent eight years researching Davis’ story and bringing the film project to fruition. It serves as a recounting of a significant moment in Davis’ life that would influence her future work, and inspire a faction of constituents backing her cause.

“When I started [making the film], it was post 9-11, and there was all this talk about what was a terrorist, and who was a terrorist,” the filmmakers recalls. “What attracted me about this story was that this was a way of discussing it without having the raw emotion of discussing 9-11…It also resonates in the present with prisoners’ rights…In the 70’s, [Davis] was starting to articulate a prisoners’ rights kind of activism that was very new at the time. Talking about prisoners – young men, primarily black and Latino – that had been caught up in petty crimes and now been in prison for extended periods of time.”

“She wanted to call them political prisoners,” Lynch continues. “There were a lot of people on the political side of protesting, and revolution and anti-war that had real discomfort with that because it’s like, ‘Well these people are criminals.’ And so the whole George Jackson story really relates to the situation with prisoners’ rights today, and the increasing prisoner industrial complex.”

As the film shows, Davis became aware of what she felt were discriminatory and inhumane practices infiltrating the criminal justice system during her own detainment. These experiences would provide a framework for her later theories on abolition democracy, camouflaged racism, penal servitude and the extension of slavery through incarceration.

Furthermore, it was this period in Davis’ life that would inspire her organization, Critical Resistance, a crusade to replace prisons with social institutions that remedy conditions dooming many men and women to a life behind bars.

“Her relationship with George Jackson and the Soledad brothers is what started it, and then her own incarceration – those two experiences are pivotal to the direction that her life takes after that,” Lynch observes. “She’s about justice issues, and for her they’re all intertwined. You can’t talk about one justice issue without another… Free Angela is a way to narrow that, and to give Angela a fair trial. That really was the point of the movement.”

The film pulls together images, letters and video clips from Davis’ supporters around the world at the time of her trial, all of whom rallied together for her liberation. Those advocates included Nina Simone, who visited Davis in prison; Aretha Franklin, who offered to pay her bond; John Lennon and Yoko Ono, who wrote a song in her honor; and the countless men, women and children of all ages and races who organized a movement demanding her release. Lynch additionally interviews Davis and her family, her lawyers and old friends, as well as those countering her struggle to fill in details of the historical outline.

Not surprisingly, Davis’ involvement took convincing.

“Her attitude was skeptical,” Lynch remembers. “She doesn’t seem like the kind of person that revisits the past. She’s not living in the past, believe it or not. People have ideas of her from the past, but she lives in the present. She’s a retired professor now; she’s an activist speaking all over the world about, ironically, the same kinds of issues that ‘got her in trouble’ in the 70’s. So, it just took a moment to get her attention.”

Lynch also points to the fact that, from Davis’ point of view, the story was limited. Thus, the documentary was a way for the activist to revisit her narrative from several vantages.

Lynch adds, “There was all this stuff going on around her, whether it’s the government, whether it’s her old lawyers, whether it’s the protests and the Free Angela movement – she never experienced it. She was the beneficiary.”

Free Angela and All Political Prisoners premiered at the Toronto International Film Festival in 2012 to critical praise, and opens at select theaters in the U.S. on April 5. It was executive-produced by Overbrook Entertainment partners Will Smith, James Lassiter, Jada Pinkett Smith, and Roc Nation, and is being distributed by Codeblack Films and Lionsgate. In addition to its focus on Davis’ exoneration, the production also touches on issues of American civil liberties, gun violence, and the dynamism of a cause célèbre. Though decades past, many of the concerns addressed in the movie still resonate in today’s sociopolitical climate, particularly relating to the national debate on gun control.

“What I couldn’t have anticipated is the amount of gun violence that’s happened in the last few years with lone gun people walking into certain situations, either for political reasons or personal reasons, and initiating a similar kind of gun battle or massacre that happened on August 7,” Lynch admits. “I don’t think there’s any correlation in the sense that this was such a political period…People were motivated by the idea that the revolution was right around the corner, and so it’s not so individualistic. It’s not about crazy, deranged people, but there is a question of guns and how to control them, and how law enforcement responds.”

Nevertheless, the movie, as Lynch notes, is not about the Second Amendment, but primarily the First, and Davis’ momentous, ongoing journey in defending it.

“She doesn’t hesitate,” Lynch remarks. “Just seeing her set that example, seeing her make those choices – to stand up – they are really powerful.”

 

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Federal Judge Blocks New York City From Getting ‘Central Park Five’ Footage

BY SERGIO

Yesterday, in a New York City federal court, Judge Ronald Ellis blocked an ongoing attempt by New York City to get its hands on footage obtained by filmmaker Ken Burns, daughter Sarah Burns and son-in-law DavidMcMahon, while making their documentary The Central Park Five.

The city wanted the footage due to a $250 million dollar federal lawsuit against the city, filed by the five men, after their 1989 rape and assault sentences were vacated when they finally proved that they were innocent of the crime, when the real culprit confessed to the crime and DNA evidence supported their claims of innocence.

The city claimed that Burns, the other filmmakers and his production company Florentine Films, were not independent journalists entitled to reporter’s privilege. But Judge Ellis ruled that the filmmakers had “established its independence in the making of the film” and could claim the privilege.

Ellis also said that the city had failed to address the requirements of relevance and significance of the materials it sought and had failed to demonstrate they are not available from another source”.

Burns, after the decision came down, said that he was grateful for the judge’s ruling and that “this adds a layer of important protection to journalists and filmmakers everywhere.” 

All this, of course, clears the way for the lawsuit against the city to proceed.

 
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Posted by on February 20, 2013 in African American Documentary

 

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Film explores African-Americans’ unhealthy “soul food” habit

By Harriet McLeod | Reuters 

  • Filmmaker Byron Hurt is pictured with his mother, Frances Hurt, and sister, Taundra Hurt, holding family photos of Hurt's father, Jackie Hurt, who died in 2007 at age 64 as a result of pancreatic cancer in this undated handout photo obtained by Reuters December 21, 2012. REUTERS/Bryon Hurt/Handout

    Reuters/Reuters – Filmmaker Byron Hurt is pictured with his mother, Frances Hurt, and sister, Taundra Hurt, holding family photos of Hurt’s father, Jackie Hurt, who died in 2007 at age 64 as a result of pancreatic …more 

(Reuters) – After interviewing food historians, scholars, cooks, doctors, activists and consumers for his new film “Soul Food Junkies,” filmmaker Byron Hurt concluded that an addiction to soul food is killing African-Americans at an alarming rate.

The movie, which will premiere on January 14 on U.S. public broadcasting television, examines how black cultural identity is linked to high-calorie, high-fat food such as fried chicken and barbecued ribs and how eating habits may be changing.

In the deeply personal film, Hurt details his father’s fight and eventual death from pancreatic cancer. A high-fat diet is a risk factor for the illness, according to researchers at Duke University in North Carolina.

“I never questioned what we ate or how much,” 42-year-old New Jersey-based Hurt says in the film that travels from New Jersey and New York to Virginia, Georgia, Mississippi, Louisiana and Chicago.

“My father went from being young and fit to twice his size.”

Hurt, who also made “Hip-Hop: Beyond Beats and Rhymes,” decided to examine the link between calorie-loaded soul food and illnesses among blacks after his father was diagnosed in 2006.

He delves into his family history, as well as slavery, the African diaspora and the black power movement in the film and provides photographs, drawings, historic film footage and maps.

In Jackson, Mississippi, Hurt joined football fans for ribs and corn cooked with pigs’ feet and turkey necks. He also visited Peaches Restaurant, founded in 1961, where freedom riders and civil rights activists including Martin Luther King Jr. ate.

Hurt, whose family came from Milledgeville, Georgia, grew up on a diet of fried chicken, pork chops, macaroni and cheese, potatoes and gravy, barbecued ribs, sweet potato pie, collard greens, ham hocks and black-eyed peas.

“The history of Southern food is complex,” he said. “In many ways, the term soul food is a reduction of our culinary foodways.”

The origins of the diet lie in the history of American slavery, according to food historian Jessica B. Harris, who appears in the film. Slaves ate a high-fat, high-calorie diet that would allow them to burn 3,000 calories a day working, she explained.

Southern food began to be called soul food during the civil rights and black power movements of the 1960s, according to Hurt.

“There’s an emotional connection and cultural pride in what they see as the food their population survived on in difficult times,” he said.

But Hurt said African-Americans are being devastated by nutrition-related diseases.

Black adults have the highest rates of obesity and a higher prevalence of diabetes than whites, and are twice as likely to die of stroke before age 75 than other population groups, according to the U.S. Centers for Disease Control and Prevention.

Besides tradition and habit, poverty and neighborhoods without good supermarkets also contribute to an unhealthy diet, Hurt said.

“Low-income communities of color lack access to vegetables and have an overabundance of fast food and highly processed foods that are high in calories and fats. I always know when I’m in a community of color because I see … very, very few supermarkets and health food stores,” he added.

In her book, “High on the Hog: A Culinary Journey from Africa to America,” Harris said the prevalence of over processed foods, low-quality meats, and second- or third-rate produce in minority neighborhoods amounts to “culinary apartheid.”

In the film, Marc Lamont Hill, an associate professor of English education at Columbia University in New York, described minority health problems related to poor diet as “21st-century genocide.”

Hurt says the government can help by increasing urban access to quality food and requiring calorie counts to be displayed on restaurant menus.

Nonprofit organizations such as Growing Power Inc., which runs urban farms in Chicago and Milwaukee, provide fresh vegetables to minority neighborhoods.

Brian Ellis, 21, said all he ate was fast food when he started working at one of Growing Power’s urban farms in Chicago when he was 14.

“Then I started eating food I’d never seen before like Swiss chard,” said Ellis, who appears in the film. “I never knew what beets were. I’d never seen sprouts before. I’m not that big of a beet fan, but I love sprouts. I could eat sprouts all day.”

(Editing by Patricia Reaney and Mohammad Zargham)

 

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New documentary about the word ‘Ghetto’ seeks funding

The film “OMG, That’s So Ghetto” will explore the present-day use of the word ghetto while also shedding light on the history of ghettos in the United States.

Nationwide (BlackNews.com) — Holocaust survivors, beat cops and reporters, drug dealers, community leaders, activists, writers and even teenagers have one thing in common in this film – a relationship with and an interpretation of the word “ghetto”. This film will depict the director’s tour of the country, asking a myriad of individuals about what the word ghetto means to them. “OMG, That’s So Ghetto” is in the fundraising stages and needs to raise $64,000 in order to finish filming. This film will explore the present-day use of the word ghetto while also shedding light on the history of ghettos in the United States.

“Where did the word originate?” “How did ghettos in the United States form?”

“When did the word become an adjective?” When used, are there undertones signifying race and class differences? How do we remedy the epidemic of the ghettos here in America?

Questions like these will be asked and answered in the film. The film will also feature the lives of individuals affected by the ghetto, both in America and even those who have had experiences with Jewish ghettos in Europe during the Holocaust.

This film aims to challenge stereotypes, highlighting how the poor and underprivileged are viewed and spoken of in this country. The film needs to raise $64,000 and is using the popular crowd-funding site, Kickstarter to do so

(http://kck.st/S6PAf8). Time is of the essence as the Kickstarter campaign has less than 25 days left, and if the goal is not met, the film will not receive ANY of the funds raised thus far.

Surprisingly, this topic remains unexplored in the cinematic world and the impact that this film will have on the way we view ghettos in America is imperative. Click the link and watch the trailer, and be inspired to join in on the journey and help make this film a reality. Help explore what ghetto means to America and join the ghetto reformation movement.

Xposé Films is a production company based in Los Angeles, Calif. seeking to make films that expose and challenge the thoughts and attitudes of the heart and mind towards various issues facing us in today’s world.

For more information or to contact OnTay for an interview, please contact Lorena Ventura at (424) 224-2115 or email at lorena@xposefilms.com.

 
 

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Bob Marley Wanted More Black American Fans, Says Son Ziggy

A scene from the new documentary, “Marley,” shows an all-white crowd gathered to watch Jamaican reggae artist Bob Marley perform in the U.S. in the late 1970s. Even though Marley was influenced by American rhythm and blues artists, his own music was slow to catch on with African-Americans during his lifetime.

“He had issue with it,” Marley’s son Ziggy Marley told “Nightline,” “because he wanted African-Americans to hear his message.”

Bob Marley’s children, band mates, widow and ex-girlfriends help tell his story in the mammoth documentary covering the legendary artist’s humble beginnings in Jamaica and rise to become reggae’s first and biggest international superstar.

“He covers such a wide spectrum of people now, and it keeps growing,” Ziggy Marley said. “He has a message for everybody.  He has a message for the fighters.  He has a message for the peace guys.”

“Nightline” spent the day with Ziggy Marley and other members of the Marley family on Aug. 7 in Los Angeles, where they celebrated the city’s inaugural “Bob Marley Day” and the online and DVD release of “Marley.”

In the morning, Ziggy and his sister Karen Marley accepted a proclamation from Los Angeles City Councilmen Tom LaBonge and Joe Buscaino.

“I can’t believe Ziggy Marley is in the City Hall right here,” Buscaino said, visibly excited. The councilman broke into a version of Bob Marley’s “Redemption Song” on the floor of City Hall.

“It’s great to have a family vibe on Bob Marley day,” Ziggy Marley said. “It’s official but it’s unofficial, which is Bob.”

Bob Marley died in 1981 at the age 36 from cancer, and his eldest son Ziggy Marley has taken on the mantle, first performing with his brothers and sisters in “The Melody Makers” and then moving onto a solo career as a multi-Grammy winning artist.

From his office on a residential street in West Hollywood, Ziggy Marley performed several Bob Marley songs for “Nightline,” including “War,” “Get Up, Stand Up,” and “Three Little Birds.”

“If I’m doing a concert and I’m having a problem with the audience…I just play a Bob Marley song and I’m good for the rest of the night,” Ziggy Marley said with a laugh. “I come out and just pull like ‘Jammin” or ‘Is This Love’ and I’ve got them now. Let me go back and do some of my own stuff.”

Ziggy said he learned things about his father in the process of working on the documentary, including the fact that his father was discriminated against in Jamaica because his father was white.

“I think probably how he dealt with that was to just be accepted by his peers around him through music, through forming a group, through being able to sing,” Ziggy Marley said.

Ziggy Marley, now 43, seven years older than his father was when he died, said the process of making “Marley” led him to old photographs that revealed how young his father was when he died.

“It never really hit me before how young 36 is, because when I was a child, he was like a big, old man to me,” he said. “I wish he could have experienced more, you know, and lived a little longer.”

 

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Why Ball Players Can Hug And Kiss Each Other, But Other Men Can’t

By Sylvia A. Harvey

Watch Documentary Here

In the Black community, men who express even a passing, friendly physical affection toward each other are often subject to ridicule and homophobic attacks.

But on the basketball court, the sight of men kissing, hugging and patting each others’ backsides scarcely draws a comment.

Why is that? In “OUT OF BOUNDS” — an exclusive NewsOne documentary — journalist Sylvia A. Harvey explores the strange double-standard that allows Black men to express intimacy on the basketball court, but keeps a tight lid on those feelings and actions off the court.

Harvey explains how the documentary came to be:

The mini-doc, “Out of Bounds,” was born out of a fight over the TV remote, which I lost. Slowly descending into the world of clock shots, blocks, and turnovers, I started to anticipate Ray Allen’s three-pointer, Kevin Durant’s quick release shots and Blake Griffin’s dunks. NBA games showcased breathtaking plays and hard fought victories. But most compelling was the quiet backdrop that spoke louder than any winners or losers – the players’ behavior on the court.

When a player made that unimaginable shot or game saving free throw, yelling, chest pounding, mid-air chest bumps and high-fives ensued. But alongside this bravado came rare public displays of intimacy between black men—intimacy that if recognized could challenge traditional boundaries of black masculinity.

I set out to ask: What gave these men the license to hug, kiss, and slap each other’s backsides unapologetically in front of millions of spectators? Why hadn’t that license been granted to black men everywhere, and why was that license seemingly suspended once the game ended?

Many recreational ball players with whom I spoke ascribed the intimacy to the quirks of sports culture, but admitted an unspoken rule prevents this behavior from carrying beyond the court. That unspoken rule is explored via the influence of hyper-masculine hip-hop culture and heteronormative privilege

 

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The Greatest Story Never Told: Groundbreaking Documentary Uncovers Buried Truths

Los Angeles — Chosen By God: The Great Pharaohs of the 25th Dynasty sets out to reinstate the powerful black leaders of the Old Testament to Biblical history, scholarship and cultural discourse. This groundbreaking documentary, based on archeological evidence and historical authentication, tells the story of Egypt’s dynamic black Pharaohs. Although an integral part of the Biblical Books of Isaiah and 2 Kings, these figures remain among the most under-celebrated examples of African heroism and hope.

Why has the story been downplayed for so long? That’s the question historians, ministers, and archeological and anthropological experts explore in the 90-minute DVD.

Looking closely at the facts and fiction surrounding ancient Egypt circa 700 BC and its greatest Nubian/Kushite Pharaoh, who saved the Hebrews and the Hebrew religion, as well as the greatest Nubian/Kushite Queen of the Nile, these authorities reveal what the film claims is the “greatest story never told.” For minority cultures, which for centuries have sought to discover a complete history of their leaders, Chosen By God unearths a legacy of achievement.

Chosen By God, written by Lamont Roberts and directed by Mike Criscione, was funded by Reel Image Inc. (RII), a California nonprofit that supports independent filmmakers who foster an appreciation of cultural diversity by depicting images of positive role models and realistic portrayals of women and minorities. The documentary’s producers Mike Criscione, Carl E. Dickerson and Lamont Roberts brought together a talented production and acting crew to create a film for a wide range of audiences, including scholars or aficionados of Biblical history, black heritage, ancient dynasties, religion and Egyptology.

In making Chosen By God, the filmmakers produced an invaluable tool for understanding the history of black leaders prior to the Mayflower, but another key impetus for making the film was to inspire black youth to achieve personally and professionally, and to educate greater society on minority leadership and their contributions to the evolution of civilization.

Along with the DVD, authentic replicas of the only Pharaoh to defend Hezekiah and the Hebrew people against their enemies are available for purchase through the film’s official website,http://www.chosenbygodthemovie.com.

Official Trailer on YouTube:http://youtu.be/2o4sFaMDnJI

Facebook:http://www.facebook.com/ChosenByGodTheMovie

Twitter:http://twitter.com/CBG_Movie

 

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‘POV Short Cuts’ Presents Five New Short Documentaries

Lineup Includes Academy Award® Nominee and Student Academy Award® Winner and StoryCorps Animations; Films Tell Stories of Civil Rights Heroes, Trauma of Deportation, a Father’s Legacy and the Power of a Name
Mr. James Armstrong. Photo: Robin Fryday

POV (Point of View), the award-winning nonfiction film series celebrating its 25th year on PBS in 2012, brings the popular POV Short Cuts back to the schedule with a new collection of short documentaries. These diverse films tell stories of hard-fought and hard-won civil rights battles, a family’s separation after deportation and lessons learned from parents. The five short films include an Academy Award® nominee, The Barber of Birmingham: Foot Soldier of the Civil Rights Movement; a Student Academy Award® winner, Sin País (Without Country); and three new animated shorts—Eyes on the Stars, Facundo the Great and A Family Man—from the Peabody Award-winning StoryCorps oral-history project. The one-hour POV Short Cutspremieres on Thursday, Aug. 9, 2012 at 10 p.m. on PBS as part of the 25th anniversary season of POV (Point of View), which runs through Oct. 25 and concludes with fall and winter specials. (Check local listings.) POV Short Cuts streams on the POV website from Aug. 10 – Sept. 9. American television’s longest-running independent documentary series, POV is the winner of a Special Emmy for Excellence in Television Documentary Filmmaking, two International Documentary Association Awards for Continuing Series and the National Association of Latino Independent Producers Award for Corporate Commitment to Diversity.

The Barber of Birmingham: Foot Soldier of the Civil Rights Movement by Gail Dolgin and Robin Fryday In the days before and after Barack Obama’s victory in the 2008 presidential election, an 85-year-old civil rights activist and “foot soldier” looked back on the early days of the movement in this Academy Award®-nominated short. World War II veteran James Armstrong was the proud proprietor of Armstrong’s Barbershop, a cultural and political hub in Birmingham, Ala., for more than 50 years. Among his clients was Rev. Martin Luther King, Jr. In this small establishment, where every inch of wall space was covered in newspaper clippings and black-and-white photographs, hair was cut, marches organized and battle scars tended. Armstrong, who carried the American flag across the Selma bridge during the Bloody Sunday march for voting rights in 1965, links the struggles of activists of the past with a previously unimaginable dream: the election of the first African-American president. Armstrong passed away on Nov. 18, 2009, at the age of 86. An Official Selection of the 2011 Sundance Film Festival. (Length: 21 mins.)

Robin Fryday, Director/Producer Robin Fryday, born and raised in Chicago, is a photographer based in Marin County, north of San Francisco. Her career as a child photographer spans almost 20 years and is linked to a commitment to use her work to help underprivileged children. Fryday co-founded and co-chairs the Bay Area Heart Gallery, a collaboration between photographers and public and private child adoption agencies. Her photographs have been used to raise money for nonprofit agencies designed to feed and school the impoverished in Peru, India, Bhutan and, most recently, Haiti. Fryday also runs an annual photography camp designed to teach teenagers photographic skills. The Barber of Birmingham is her first documentary film. Gail Dolgin, Director/Producer The late Gail Dolgin was best known for Daughter From Danang, which follows a Vietnamese mother and her Ameriasian daughter as they reunite after a 22-year separation. The film was nominated for an Academy Award and won the 2002 Sundance Grand Jury Prize for Best Documentary. While working on The Barber of Birmingham, Dolgin, who had battled breast cancer for years, knew it would be her last film. She passed away in October 2010. Sin Pais (Without Country) by Theo Rigby Winner of a 2012 Student Academy Award®, Sin País (Without Country) explores one family’s experience as members are separated by deportation. Nearly 20 years ago, Sam and Elida Mejia escaped a violent civil war in Guatemala and brought their one-year-old son, Gilbert, to California. The Mejias settled in the Bay Area, worked multiple jobs and saved enough to buy a home. They had two more children, both U.S. citizens, and lived the American Dream. Two years ago, Sam, Elida and Gilbert, all undocumented, became deeply entangled in the U.S. immigration system.Sin País (Without Country) begins two weeks before the parents’ scheduled deportation date. After a passionate fight to keep their family together, they are deported back to Guatemala. The film chronicles the Mejias’ new reality as a separated family—parents without their children, and children without their parents.(Length: 19 mins.)

Theo Rigby, Director/Producer Theo Rigby’s work has focused on topics ranging from the war in Iraq to the justice system, and for the past six years he has been making films about immigration issues in the United States. His short films have screened in film festivals across the globe; Close to Home was a national finalist in the 2009 Student Academy Awards and won a Golden Eagle Award and special jury mention at the 2010 Ashland Independent Film Festival. Rigby’s photographs have been published in Newsweek, The New York TimesNational Geographic France, People and many other national and international publications. His still photographs have also been exhibited at San Francisco City Hall and at the 2005 Visa Pour l’Image festival in France. Rigby recently graduated with a master of fine arts degree in documentary film from Stanford University.

StoryCorps The renowned oral-history project StoryCorps brings intimate conversations among friends and families to life in touching, often hilarious animated shorts that are sure to strike a chord in all of us. Funded by the Corporation for Public Broadcasting.

Eyes on the Stars – Carl McNair tells the story of his brother Ronald, an African-American kid in the 1950s who set his sights on the stars. (Length: 2 minutes.) Facundo the Great – Ramòn “Chunky” Sanchez recounts how the new kid at school became a hero when his teachers could not find a way to anglicize his name. (Length: 1 minute.A Family Man – In 1955, John L. Black, Sr. started his job as a janitor for the Cincinnati public school system. He regularly put in 16-hour days to provide for his wife and 11 children. His son Samuel talks with his wife, Edda Fields-Black, about his father’s lasting legacy and the power of a look. (Length: 3 minutes.) Now on DVD: StoryCorps Animated Shorts is a collection of shorts featured on POV, from a heartwarming conversation between a boy with Asperger’s syndrome and his mom to two Brooklyn characters remembering how they fell in love to a feisty grandmother regaling her family with tales from her youth. Pulled from more than 40,000 audio interviews recorded by StoryCorps and archived in the American Folklife Center at the Library of Congress, each story captures the poetry, grace and wisdom found all around us if we take the time to listen. Visitwww.shoppbs.org.

 

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“Endgame: AIDS in Black America” – PBS Documentary

Watch Video Here

When a handsome deacon from her Oakland, Calif., parish began wooing her, retired nurse and divorcee Nel Davis felt as if she were in a storybook romance. After a courtship and engagement that included exacting premarital counseling, the couple — both church elders — wed in 2004.

One morning months later, as Davis was making the bed, her husband’s Bible fell to the floor, an opened envelope slipped from between the pages. Davis drew the paper from its envelope. She stared down at the results of an HIV test her husband had taken in 2003, a year before they were married, stating that he was HIV positive. Having felt ill as early as their honeymoon at Disney World, Davis knew what that meant for her own health.

“During all that time taking care of others, HIV-AIDS just wasn’t really a health concern of mine,” said Davis, whose background as a nurse didn’t prepare her. It “was basically not something I worried about because of the lifestyle that I lived, which was not risky. I’d heard about it, but personally, I did not educate myself to it because my view on that was, ‘Well, that would never happen to me.’ ”

Now she faced the daunting task of telling her children she was HIV positive. “That was the hardest part,” she said. “There was a lot of embarrassment and shame…. You teach them when they’re teenagers about safe sex and respect for other people’s bodies and so forth, and here I am, mom and grandma and great-grandma, and I have to tell them that I am HIV positive.”

Davis split with her husband, who she said she still loved but could never respect.

Black America’s Disproportionate HIV Burden

Nel Davis’s story opens the gripping new PBS Frontline documentary “Endgame: AIDS in Black America,” (written, directed, and produced by Renata Simon and airing Tuesday, July 10), an exhaustive examination of the disease in the African-American community. Black Americans such as Davis “face the most severe burden of HIV of all racial/ethnic groups in the United States,” according to the U.S. Centers for Disease Control and Prevention. Although blacks make up roughly 14 percent of the U.S. population, in 2009, they accounted for a disproportional 44 percent of new HIV infections, CDC data published in August 2011 shows. One in 16 black men today will be diagnosed with HIV at some point in their life. Two-thirds of new HIV cases in women are in black women. Among adolescents, blacks account for 70 percent of new cases.

The numbers are indeed staggering — and even more so when you consider that HIV-AIDS is an almost entirely preventable disease.

Criminalization of Drug Offenses vs. Public Health

The devastating effect of HIV-AIDS in black America cannot be blamed on any one factor. Public health mistakes, cultural stigma and a lack of coordination by authorities have all combined to complicate matters.

Going back to the early days of HIV-AIDS, at the beginning of the 1980s, the first five AIDS patients treated at UCLA Medical Center (the first hospital to identify the new disease) were white gay men. The sixth and seventh patients, however, were black. But the misconception quickly arose and spread that the new killer virus affected only white homosexual males — a critical error that 30 years later still thwarts attempts to control AIDS.

Even more devastating, however, was how the disease emerged, said Robert Fullilove, associate dean for community and minority affairs at Columbia University’s Mailman School of Public Health in New York. As the 1980s progressed, rising unemployment and despair in poor black communities fueled a booming drug problem, particularly injection drugs. As drug use increased, so did drug-related crime.

Under pressure to respond, authorities chose to criminalize drug use rather than address the underlying social issues. Among other things, President Ronald Reagan’s federal Anti-Drug Abuse Act of 1986 made it illegal to possess syringes. In Frontline‘s “Endgame,” Fullilove points out how users shared needles to avoid arrest for possession of drug paraphernalia. HIV spread quickly among injection drug users, and then to their partners, and then to partners of those partners and beyond — in an ever-widening web of infection.

The harsh 1980s drug laws put an unprecedented number of black men in prison for nonviolent drug offenses. In some communities, as many as 50 percent of young black males were incarcerated. This, too, created unintended consequences — but this time for black women. With so many men in prison, according to the Frontline documentary, men in the community could dictate the rules of sexual play. If a man wanted unprotected sex, he was likely to get it, which unfortunately spread the virus more widely among women.

The Cultural Stigma of AIDS

Many local and national leaders failed to respond, despite the fact that AIDS was wreaking havoc throughout black communities. HIV-AIDS was just one of a long list of vital issues for black leaders to tackle, including education, housing and jobs. Other leaders were ignorant of the problem. “I think we thought about AIDS as affecting only white people, and then only white gay people, and there were no black gay people,” recalls Julian Bond, veteran 1960s civil rights activist, Georgia state representative, and chairman emeritus of the NAACP, in the documentary.

Even the traditional bulwark of social support and activism in the African-American community, the black church, has done little to address the AIDS crisis. In “Endgame,” Phil Wilson, president and CEO of the Black AIDS Institute, recalls an eye-opening moment while he was addressing the Black Ministerial Alliance about AIDS. One minister jumped up and shouted, “We’re not going to let them blame this one on us.” The frantic desire that AIDS not become another “black problem” in the eyes of American society has severely hampered prevention and treatment efforts, Wilson says.

An African-American aversion to hanging your dirty laundry in public didn’t help. “You don’t tell other folks how poor you are. You don’t tell other folks that you can’t pay the rent. You don’t tell other folks that so and so is sick. And you certainly don’t tell other folks that there’s a gay son,” he says. “And you don’t tell other folks that someone in the family has AIDS. It’s all about those things that you think are ways to protect yourself — going all the way back to slavery, that the slaves kept secrets … some of that cultural baggage travels with us.”

These cultural views reinforce homophobia as well. “The African-American community and a lot of communities have stigma around being gay,” says Bay Area AIDS activist Jesse Brooks, who is gay, in the film. “I had an uncle, and I remember being in the car with him and he pointed to an obviously gay man and said, ‘I hate them!’ And this is my uncle, who was my favorite uncle, and it crushed me. And so it also led me to not want to open up about who I am, and for me to be ashamed about who I am.”

Today, the AIDS epidemic in the United States is unique. While HIV-AIDS rates have dropped around the globe over the past 10 years, the U.S. rate has remained steady. Part of the reason for the decline abroad is the nearly $40 billion the U.S. government has spent on the global AIDS crisis since 2003, the year President George W. Bush launched the President’s Emergency Plan for AIDS Relief (PEPFAR).

“If black America were a country unto itself, it would have the 16th worst epidemic in the world,” Phil Wilson says in the film. “It would be eligible for PEPFAR dollars.”

No major city illustrates the problem better than the nation’s capital: in 2011, the prevalence of HIV in Washington, D.C., was higher than that in Rwanda, Kenya, Burundi, Ethiopia or Congo. Washington is a Southern city, and the South is “where the nation’s epicenter of HIV-AIDS rages,” according to “Southern Exposure: Human Rights and HIV in the Southern United States,” a November 2010 report by Human Rights Watch.

The South has the highest rates of new HIV infections in the country, the most AIDS deaths and the largest number of people living with HIV/AIDS, according to CDC figures. Forty percent ofAmericans living with AIDS live in the South, and as with the rest of the country, blacks bear a disproportionate share of the region’s burden.

A laundry list of health and economic indicators has contributed to the South becoming Ground Zero of the nation’s HIV-AIDS epidemic: the nation’s highest poverty rates and highest rates of uninsured residents (an estimated 18 million Southerners lack health insurance), large numbers of unemployed, and the worst overall health in the country, according to the Southern Aids Coalition report “Southern States Manifesto: Update 2008.” The coalition’s report specifically calls on Southern and national black leaders “to realize that we are in a state of emergency as it relates to the disproportionate rate of infection of HIV/AIDS and STDs.”

The Endgame for HIV-AIDS in the Black Community

Despite the bleak situation, work is being done to control HIV-AIDS. In July 2010, President Barack Obama announced the first National HIV-AIDS Strategy and unveiled the White House Office of National AIDS Policy. Based in part on learnings from PEPFAR, the administration’s vision is to make the United States “a place where new HIV infections are rare, and when they do occur, every person regardless of age, gender, race/ethnicity, sexual orientation, gender identity, or socio-economic circumstance, will have unfettered access to high quality, life-extending care, free from stigma and discrimination.”

With concrete goals such as lowering the annual number of HIV infections by 25 percent, the strategy’s 12 Cities Project takes special aim at the U.S. cities with the highest AIDS burdens, which are, in order: New York; Los Angeles; Washington, D.C.; Chicago; Atlanta; Miami; Philadelphia; Houston; San Francisco; Baltimore; Dallas; and San Juan, Puerto Rico.

But Lisa Fitzpatrick, MD, MPH, director of the AIDS Education Training Center at Howard University and a member of the Washington, D.C., Commission on HIV-AIDS, said that the government can only do so much in the fight against HIV-AIDS. And, she said, the solution isn’t directing more money at the crisis either.

“We already spend billions of dollars on HIV,” she said. “But where is it going? What are we doing with it?”

Based on her work on the front lines in D.C., Fitzpatrick believes what we need instead of more dollars is more courage. “We’ve done a lot of research looking at why HIV is being transmitted,” she said. “We’ve done a lot of research looking at what some of the predictors are of who’s going to fall out of care and who does well on care. We have a lot of information. But in order to address these things, we have to get out of the box.”

One way to do that, Fitzpatrick said, is for doctors and others working on the disease to get out of their clinics and laboratories and speak face to face with the people they’re trying to help. She’s certain that if everybody attending the 19th annual International AIDS Conference in Washington, D.C., July 22–27, went home and spent an hour a week “boots on the ground, in the community, talking to people about HIV,” the impact would be amazing.

She shared one story that reveals the impact such encounters can have: “I was in a café two weeks ago and there was a guy sitting behind me who recognized some of the work I was doing on my computer and asked me if was a doctor. And he says, ‘So you treat the AIDS?’ And that sparked a long conversation. But the take-home message for me was, here is a 29-year-old with two years of college under his belt and he was asking me if you could get HIV from sharing a cigarette. He was telling me that he feels uncomfortable lying on a sofa or taking a shower in the same tub as where somebody who is HIV positive had been before him. Being in the same house as someone who is HIV positive makes him quote, unquote ‘nervous.’ This is in 2012 and we still have people who don’t understand how HIV is transmitted.”

If Fitzpatrick is frustrated, she remains hopeful. For one, thanks to improvements in medications, AIDS today is treatable, if not curable. Fitzpatrick regularly tells her patients, “The medications are so good that we can effectively treat you, and you’re not going to die of AIDS.”

Plus, research is ongoing.

“There are so many committed, dedicated, bright people working on this,” she said. “But we need to chorus our voices. And we need to get on the same page.”

Nel Davis: A Patient Turned AIDS Activist

Although Davis, whose story opens the Frontline documentary, was originally devastated by her diagnosis, she now volunteers as an HIV-AIDS counselor, and is ravenous for information about the disease. “Every clipping, whatever I can get my hands on, I get it and I save it,” she said. “I have my own little personal library with the information now, so I can share it with others.”

And by sticking to a strict treatment regimen, she has kept her infection in check. “It’s been a battle, but I am determined not to let it be in control,” she said. “So, by the grace of God, I’m doing quite well.”

“Endgame: AIDS in Black America,” a special Frontline presentation, airs on PBS stations Tuesday, July 10 at 9 p.m. For more information, visit PBS.org.

 

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Film “Soul Food Junkies” Examines African American Cuisine and Culture

Mac and cheese oozing buttery-goodness, thickly-crusted golden fried chicken, greens swimming in pork fat, chunky ribs slathered in smoky sauce, red velvet cake sporting an inch of icing. Are these a cherished part of African American culture or a recipe for an early death? The answer is both, as last Thursday’s West Coast premiere of Byron Hurt’s movie Soul Food Junkies vividly demonstrated. The screening at the Oakland School for the Arts was co-sponsored by KQED and the HUB. The event closed the The Oakland Innovation Film Lab and was followed by a panel discussion with local food activists and a spread of treats from Souley Vegan Restaurant in Oakland. All three aspects of the evening were enthusiastically received by the young, artistic-looking, urban, mostly African American crowd.

In this documentary film, selected by KQED’s Independent Lens Series to air in the upcoming 2012-13 season, Hurt uses his own family’s story as a through-line, centering on his father’s unflagging devotion to the artery-clogging classic dishes in the soul food repertoire. Hurt recalls that growing up he wanted to be just like his “Pops” and copied his Sunday breakfast ritual of grits and eggs, smothered with cheese, salt pork and bacon. After college, Hurt, (as well as his sister and mother) altered their diets. But, his father continued to gain weight, refusing to change his eating habits, even in the face of the pancreatic cancer that ultimately took his life at an early age.

Hurt’s personal story is flanked throughout the film by commentary from a range of historians, scholars, soul food chefs, doctors, and everyday folk who illuminate the cultural complexities in the African American relationship to food. “Soul food is a repository for our history,” says one.

Discussions about food in the historical context of slavery and the Jim Crow era help to illuminate the subject. Slavery was an economic institution and slaves had to be fed enough to survive the long voyage. Once here, some were expected to grow their own food and others hunted and fished like they did back in Africa. Also, female slaves were doing the cooking for the people in the big house and taking care of the children. “The hand of the African in the pot transformed Southern cooking,” comments one food expert. “Survival food for slaves became delicacies.”

“Slaves did what they needed to do to survive and make it through harsh times,” explains Hurt. “Then that way of cooking got passed down from generation to generation. And today there is a reluctance to let go of the vestiges of the way of life of our forefathers and foremothers, even though things have changed: foods are now processed and full of chemicals and we’re not as active as previous generations.”

Hurt’s mother describes the reasons she always prepared box lunches for the family to eat on their annual drives from their home in Long Island to Georgia. Because of Jim Crow laws, Black people could not be sure of finding hotels or restaurants that would serve them during road trips and so routinely brought hearty lunches of fried chicken and sides to keep them satisfied until they reached their destination.

More recent history shows that there has been a movement for healthy food awareness in African American culture for many years. “The best moments of the black freedom struggle, was with organizations like the Black Panthers,” comments a food historian. “They understood the relationship of developing a Black nation and the necessity of developing a healthy diet.”

Others interviewed in the film, however, are still very attached to Soul Food (the term was first coined in the 60s) and find creative rationalizations to keep eating it, such as, “Eve was made out of Adam’s rib, so ribs must be good.”

A poignant scene has Hurt stopping by some tailgating partiers at Mississippi’s Jackson State University. The affable group of guys shows Hurt their “Junk Pot”–a huge stock pot filled with corn, pigs ears, pig feet and “everything else that’s not good for you.” With classic Southern hospitality, they invite him to have a sample. Hurt, who has stopped eating pork, doesn’t wish to offend these gentlemen, and so delicately extracts a small cob of corn to taste. This ploy does not escape the partiers who insist he take some meat. Hurt finally does sample a dripping turkey neck and reluctantly admits how delicious it is.

Educating any cultural group about the unhealthiness of treasured comfort food is a challenge because the concept of “comfort” connects us to foods that mom or grandma made and even fed us with her own hands. This primal, sensory gratification exists on an emotional, pre-verbal level, which does not speak the rational language of blood pressure screenings. In 2010, Saul’s Deli in Berkeley engaged in a similar debate and dialogue regarding nostalgia for “real” deli food (e.g. mile-high pastrami sandwiches) vs. the wisdom of sustainability.

As a woman in Soul Food Junkies put it simply, “It’s comfort food, you eat it and it makes you feel better.”

Yet, in the face of staggering statistics of diabetes, high blood pressure, and certain types of cancer rampant the African American community, food experts in the film comment on the urgent need to increase awareness and make changes now, before it’s too late.

“If you want to wipe out an entire generation of people and engage in a 21st century genocide, all you have to do is to continue doing what we’re doing and deprive people of access to healthy food.”

Food justice, food deserts, lack of access to healthy food and the proliferation of fast food all play a critical role in this discussion. As one food scholar puts it, “In America, there is a class-based apartheid in the food system.” Hurt realizes that traditions, especially those that speak to times of family togetherness and comfort, are resistant to change. Instead of quitting classic soul food dishes cold turkey, some cooks in the film choose to tweak traditional recipes, like making oven-baked, skinless chicken instead of deep-fried. “We have to make it a part of popular culture. We have the power to change and if we don’t, we’ll be sick and die.”

Soul Food Junkies makes clear that hope for the future rests with the children. One of the last shots in the film is a group of African American elementary school children from St. Philips Academy in Newark, New Jersey. The school’s “family-style lunch program, rooftop garden, teaching kitchen and science lab encourage an understanding of sustainability from seed to table.” We see the children yell happily, “Vegetables are Soul Food!”

Hurt’s last film, Hip-Hop: Beyond Beats and Rhymes, an award-winning documentary, was also selected for Independent Lens. It examines “masculinity and manhood in rap and hip-hop, where creative genius collides with misogyny, violence and homophobia, exposing the complex intersections of culture and commerce.”

BAB briefly interviewed Byron Hurt by phone, while he was attending the American Black Film Festival in Miami where Soul Food Junkies won Best Documentary.

First you took on hip-hop and now soul food, are you trying to change African American culture?
I’d say I’m trying to make the culture better and stronger and challenge people to think critically about their culture.

What is your goal?
To challenge and inform people’s thinking. I‘m trying to create tools that inspire and educate so there can be a transformation and evolution to greater self-awareness. I used myself and my family as examples of what happens when you decide to change your diet and when you don’t. There might be many people out there who have been wanting to change, but need a nudge or some inspiration. Or maybe they want to help a family member or co-worker to change.

Isn’t comfort food hard to be rational about?
It is a very hard thing. I may have underestimated how hard it is. I saw with my own eyes that despite all the health challenges, it was still difficult for my father to change the way he ate.

What inspired you personally to change your diet?
It was my sister who set the first example in my family when she changed to a plant-based diet and I saw how healthy she looked. I had started to gain weight in my late 20s and early 30s. I realized that not being involved in athletics anymore [Hurt was a football quarterback in college] I couldn’t continue to eat and eat and eat the same way I had been. So I changed my diet and lost weight and felt better. My mom was more open than my father. She was a nurturer. She changed the way she cooked because she wanted to make us happy.

 

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Ossie Davis/Ruby Dee Documentary Needs Funding

by Stacia L. Brown

Muta’Ali Muhammad, grandson of Ruby Dee and Ossie Davis, is developing a documentary film based on their lives, their art, their activism, and their love for each other. Since this legendary couple is held in such great esteem in the black community, a film like this, produced by their grandson, would be an amazing treasure for us all.

The project, titled Life’s Essentials with Ruby Dee, is in need of funding, and Muhammad has launched a Kickstarter page to raise the $50,000 necessary to complete the project. The video trailer accompanying the page is pretty amazing. Any contribution made to help this film reach fruition would be a sound investment. At the time of this writing, there were only 22 backers and $1,573 raised. Muhammad has just 38 remaining days to reach his goal. Visit the Kickstarter page to help.

http://www.kickstarter.com/projects/674311556/ruby-dee-and-ossie-davis-documentary/widget/video.htmlPopout

 

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Tavis Smiley film a journey of Black men and cultural crossroads — Stand a soul-music-filled road trip through Civil Rights Movement during 2008 Obama campaign

By Charles Hallman

Staff Writer

 

In 2008, broadcaster Tavis Smiley assembled a cross-generational core group — Dick Gregory, Michael Eric Dyson, brothers Cornel and Cliff West, Eddie Glaude, Jr., two college-age young men and others — for “an old-fashioned road trip” across Tennessee that started in Nashville and ended on the balcony outside Room 306 of the Lorraine Hotel in Memphis where Dr. Martin Luther King, Jr. was assassinated in 1968.

America also watched a Black man win his party’s presidential nomination during the same time as Smiley’s trip.

“Here you have this young Black man [then-U.S. Senator Barack Obama] making his move toward the White House at the same time we are commemorating the 40th anniversary of King’s assassination; that crossroads was intriguing and interesting to me,” Smiley recalls in a recent phone interview with the MSR about Stand, a documentary he directed. It first premiered on TV One in May 2009, and also has been shown multiple times on the Documentary Channel, a channel primarily available on satellite, during March and April of this year.

The historic summer of 2008 prompted him “to bring my boys together, to spend some time together, trying to figure out what we make out of this moment,” continues Smiley. “What you get [is] a movie called Stand.”

The documentary also featured a visit to the Stax Museum of American Soul Music, built on the historic site of Stax Records in Memphis, where the group talked with the late Isaac Hayes and his songwriting partner David Porter. They also visited churches and Fisk University in Nashville, where they attended an impromptu concert from the school’s Jubilee Singers and gospel singer Bebe Winans.

In what would have been Hayes’ last filmed appearance, Hayes and Porter talked about the songs they wrote, including “Soul Man,” famously sung by Sam and Dave. Sam Moore of Sam and Dave also appeared in the film.

Smiley points out, “When you talk about the civil rights era and you’re making a soundtrack of that struggle, Sam and Dave are on that soundtrack. Isaac Hayes is on that soundtrack. Stax [Records] is on that soundtrack. There are so many great Black artists on that soundtrack of the defining struggle, the defining movement of our lives. There’s no way we could do justice to the time we spent together without including [the artists].

“When we weren’t talking, which was very seldom,” he notes, “everybody had their headphones on, listening to music. The music is our soul — it’s in our bones.”

The two young men — Robert Smith and Daron Boyce — were intentionally included on the trip and in the film, says Smiley. “I rarely do anything that does not involve or engage young people. They were already politically involved, active and aware, and familiar with them …I wanted to make sure that they had the chance to experience this with us. It was a delight for them to be on the trip, but it was a delight for us to have their energy, insights, questions, and their contributions to the conversations as well.

“What you see in the film is pretty much in the moment we were doing it — on the bus or with Isaac Hayes at [the] Stax [Museum] — wherever we were, the film showcases us in the moment we were doing it,” he notes.

“There were some scenes that didn’t make it [however]. Every night…we would retire as a group to the lounge or somewhere, we would recap the day and what we thought about it. Those reflections would go on sometimes for two hours, two and a half hours, or depending how long we’d stay up. But we were up late every night, just informally as friends, engaged in a lot of reflections about the experiences we’ve seen that day.”

Smiley was asked, now that it’s four years later — is there a Stand II in the offering?

“I suspect there probably will be a Stand II,” says Smiley, “looking back…at the moment he [President Obama] was making his run, and now that we look back at his first term, or maybe his second term — how do we feel about what was or what’s not accomplished?”

As for Stand, “I will forever cherish and be humbled by the fact that my first documentary film was this one,” concludes Smiley. “I am proud that that was my first one.”

 

Charles Hallman welcomes reader responses to challman@spokes man-recorder.com.

Photo courtesy of Sivat Productions

 

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