In a recent experiment, elementary-school age girls and boys were told a story featuring a “really, really smart” gender-neutral protagonist. Then, they were handed four pictures — two men and two women — and asked to pick out the character from the story. By age 6, girls were significantly less likely to pick the pictures of their own gender, the study concluded. NationSwell Council member Amanda Mortimer is trying change the narrative. As the director of production at The Representation Project, she’s pointing out the stereotypes in our culture and teaching young people to overcome them.
Has there been a time when you’ve been affected by [stereotype] images from pop culture?
I grew up in the 1980s playing with Barbie dolls and watching Disney movies—experiences that taught me the ideal woman must have unnaturally long legs, a tiny waist and large breasts. It might not have been possible, but that was the ideal. As a teenager, when I leveled out at 5’3”, I had to reconcile cultural notions of beauty with realistic ones and, at the same time, learn to celebrate and embrace all of the other skills and traits that make girls great.
What inspired you to change the narrative?
In addition to limiting the gender narratives I absorbed as a kid, I was also part of the generation of girls who was told they could be anything and do anything they wanted. Together, these two narratives create a lot of tension: You can be President of the United States, but you should look like a swimsuit model. I didn’t realize how much these stories were hurting me and other women until I saw the documentary Miss Representation by Jennifer Siebel Newsom. It wasn’t that the documentary revealed compromising images of women I had never seen before, but it connected the dots for me in a powerful way between the limited ways girls and women are pictured and the limited ways women are represented in positions of power and influence.
Last November, our country bared its divisions by race, class and geography. Do you think there is still time to repair our ideas of one another?
The short answer is yes. Years before working in news and documentaries, I worked on political campaigns. Elections always teach us something, and this past presidential election gave us all a lot to think about. The truth is, we are experiencing one of the most extreme periods of economic and social inequality in our nation’s history; people are experiencing vastly different circumstances and opportunities in America today. Sometimes, the fear of economic insecurity can be manipulated and turned into a fear of others. But I believe we are all a lot more similar than we are different and that we actually all want the same things for our children and our parents. In order to move forward, we’re going to have to focus on our common humanity more and on our differences less. That said, I’m not sweeping centuries of structural racism and inequality under the rug. We still have major work to do to acknowledge, reconcile and make reparations for our history of racism and oppression in America.
In your mind, what’s been the most successful way The Representation Project has done that?
Our work is all about awakening minds and raising consciousness about stereotypes that are so pervasive in our lives we sometimes don’t even recognize them. Once you are aware, you can be educated about the costs and consequences of these messages, and then you can start to change attitudes, behavior and, ultimately, culture. We believe that media is both the message and the messenger, so we do a lot of work through media, especially film. We’re working on a third documentary now that will expand the conversation about how our values shape our culture, with a deeper look at how inequality is experienced in America in terms of race, class and gender.
How do you train the next generation of children not to be swayed by what they’re seeing?
Last summer [The Representation Project] held our first annual Global Youth Leadership Summit and brought together an incredible group of youth from all walks of life. The program of experts and celebrities taught these kids how to recognize limiting stereotypes in their media, explained why they are damaging and then taught them how to have conversations about those limiting narratives in their own communities.
Homepage photo by Drew Angerer/Getty Images.
Tag: the arts
5 Virtual Reality Projects That Will Change How You View the World
In 1915, two decades after the first commercial film premiered, American audiences packed cinemas to see “The Birth of a Nation,” a three-hour, silent epic directed by D.W. Griffith. The story of racial tensions during Reconstruction demonized intermarriage and championed the Ku Klux Klan as guardians of white women’s chastity. The nation’s first blockbuster, the movie gained popularity for reflecting contemporary fears of racial inclusivity; it possibly even exacerbated prejudices.
If one of the first major experiments in the new medium of film ended up with such a retrograde product, what should we expect from this century’s emerging medium, virtual reality? By immersing viewers in another world, as opposed to the passive experience of watching a movie, virtual reality’s storytelling has the potential to change our moral point of view. If Griffith’s century-old film mythologized men in white sheets, could VR help us see beyond our skin color?
That, essentially, is the goal. But as with most mediums, especially one that removes us from our surroundings, there’s always the danger of escapism in to fantasy. NationSwell examined five recent works (sometimes called “sims” or “experiences”) to see if filmmakers have found a new way to generate empathy.
1. Embracing Our Differences
Nonny de la Peña is sometimes referred to as the “godmother of virtual reality.” At Emblematic Group, the VR company she founded a decade ago in Santa Monica, Calif., de la Peña brought the genre of “immersive journalism” (often pairing real sound with low-budget digital animations) to the mainstream with her short project “Hunger in Los Angeles,” which recreated the experience of waiting on line at a Skid Row food bank. Later films took viewers to a Syrian refugee camp and the Mexican border. This year, at the Sundance Film Festival, she debuted her most recent, “Out of Exile: Daniel’s Story,” about an LGBT youth coming out to his disapproving family. De la Peña, a former Newsweek correspondent, believes that VR can make viewers feel in a way no other artistic medium can. “If you feel like you’re there, then you feel like it could happen to you, too,” she recently told Los Angeles Magazine.
2. Adopting Another Perspective
For the last two years, Specular Theory’s “Perspective” series, which premiered at Sundance in 2015, has been showing how social cues can be misinterpreted very quickly. Playing two sides back-to-back, the narratives by Rose Troche and Morris May show varying perspectives on a crime. In the first chapter, “The Party,” about sexual assault, a man and woman meet at an alcohol-soaked college kegger. Gina, the girl, passes out, too intoxicated; Brian, the boy, has sex with her anyway. This year, “The Misdemeanor” doubled the number of perspectives around a fictional officer-involved shooting in Brooklyn to four: a teenager who’s shot, his brother and two cops. “Who will approach the piece and only watch one thing and think that they have the story?” Troche said to Wired. “That’s pretty much what we have in real life. The piece demonstrates the fact that just because you’re there, doesn’t mean you see everything. Through the four strings, you get to see the full picture.”
3. Contemplating the Bigger Picture
The Wevr-produced film “Hard World for Small Things,” which premiered at the Tribeca Film Festival in 2016, likewise tackles police brutality. In the five-minute story, director Janicza Bravo, a black woman, retells a deeply personal story from her own life. In 1999, while on vacation from her native Panama, a cousin had been killed in Brooklyn while holding a bag of coke. After looking up the event, all Bravo could find were short write-ups in local newspapers. Bravo’s film goes beyond that brevity to capture a whole life, leading up to its final moments. “What if their lives were more than a couple of paragraphs; what if it was their friends, where they were going, what they had read, what they had desired, etc. I wanted to make a short piece that was emotionally longer than a paragraph, and that you got a slice of his life before he died. So when he died, it’s not about the event and what he did to have died; it becomes about who he was, his humor, his laugh,” Bravo has said. For her new sim, she transposed the story to a mini-mart in South Los Angeles, where police mistake someone’s identity and fire at him with questionable cause.
4. Respecting Animals and Nature
Stanford’s Virtual Human Interaction Lab is bringing the rigors of academia to VR. At the university’s campus in Palo Alto, Calif., professor Jeremy Bailenson, the lab’s director, tests whether virtual reality can improve all life by making viewers more empathetic, more aware of the need for environmental conservation and more communicative. Essentially, he wonders, can visualizing the effects of our behavior change our actions? In one sim, a headset-equipped viewer grabs a chainsaw and cuts down a tree in a forest. In another film, after a person gets down on all fours and straps on the VR goggles, they become a cow grazing in a pasture before being driven to a slaughterhouse. It might just be enough for you to think twice about loading paper into a printer or ordering beef for dinner.
5. Putting Personal Responsibility in the Driver’s Seat
Even the lowly PSA is going virtual, too. Reel FX and AT&T’s recent commercial simulates the consequences of distracted driving. In “It Can Wait,” a person places her hand on a wheel before the simulation starts. She motors around a neighborhood while texting, barely avoiding bikers, swerving cars and schoolchildren in the crosswalk. As you can guess, the experience ends in tragedy. “Although people admit that such behavior is terrible and that they do it, they don’t necessarily see themselves as part of the problem. What people are doing is rationalizing that there is a safe way to do it,” Michelle Kuckelman, executive director of brand management at AT&T, told USA Today. By experiencing the film, participants get to see the danger from afar, while still catching a glimpse of disaster up close.
Continue reading “5 Virtual Reality Projects That Will Change How You View the World”
10 Innovative Ideas That Propelled America Forward in 2016
The most contentious presidential election in modern history offered Americans abundant reasons to shut off the news. But if they looked past the front page’s daily jaw-droppers, our countrymen would see that there’s plenty of inspiring work being done. At NationSwell, we strive to find the nonprofit directors, the social entrepreneurs and the government officials testing new ways to solve America’s most intractable problems. In our reporting this year, we’ve found there’s no shortage of good being done. Here’s a look at our favorite solutions from 2016.
This Woman Has Collected 40,000 Feminine Products to Boost the Self-Esteem of Homeless Women
Already struggling to afford basic necessities, homeless women often forgo bras and menstrual hygiene products. Dana Marlowe, a mother of two in the Washington, D.C., area, restored these ladies’ dignity by distributing over 40,000 feminine products to the homeless before NationSwell met her in February. Since then, her organization Support the Girls has given out 212,000 more.
Why Sleeping in a Former Slave’s Home Will Make You Rethink Race Relations in America
Joseph McGill, a Civil War re-enactor and history consultant for Charleston’s Magnolia Plantation in South Carolina, believes we must not forget the history of slavery and its lasting impact to date. To remind us, he’s slept overnight in 80 dilapidated cabins — sometimes bringing along groups of people interested in the experience — that once held the enslaved.
This Is How You End the Foster Care to Prison Pipeline
Abandoned by an abusive dad and a mentally ill mom, Pamela Bolnick was placed into foster care at 6 years old. For a time, the system worked — that is, until she “aged out” of it. Bolnick sought help from First Place for Youth, an East Bay nonprofit that provides security deposits for emancipated children to transition into stable housing.
Would Your Opinions of Criminals Change if One Cooked and Served You Dinner?
Café Momentum, one of Dallas’s most popular restaurants, is staffed by formerly incarcerated young men without prior culinary experience. Owner Chad Houser says the kitchen jobs have almost entirely eliminated recidivism among his restaurant’s ranks.
This Proven Method Is How You Prevent Sexual Assault on College Campuses
Nearly three decades before Rolling Stone published its incendiary (and factually inaccurate) description of sexual assault at the University of Virginia, a gang rape occurred at the University of New Hampshire in 1987. Choosing the right ways to respond to the crisis, the public college has since become the undisputed leader in ending sex crimes on campus.
This Sustainable ‘Farm of the Future’ Is Changing How Food Is Grown
Once a commercial fisherman, Bren Smith now employs a more sustainable way to draw food from the ocean. Underwater, near Thimble Island, Conn., he’s grown a vertical farm, layered with kelp, mussels, scallops and oysters.
This Former Inmate Fights for Others’ Freedom from Life Sentences
Jason Hernandez was never supposed to leave prison. At age 21, a federal judge sentenced him to life for selling crack cocaine in McKinney, Texas — Hernandez’s first criminal offense. After President Obama granted him clemency in 2013, he’s advocated on behalf of those still behind bars for first-time, nonviolent drug offenses.
Eliminating Food Waste, One Sandwich (and App) at a Time
In 2012, Raj Karmani, a Pakistani immigrant studying computer science at the University of Illinois, built an app to redistribute leftover food to local nonprofits. So far, the nonprofit Zero Percent has delivered 1 million meals from restaurants, bakeries and supermarkets to Chicago’s needy. In recognition of his work, Karmani was awarded a $10,000 grant as part of NationSwell’s and Comcast NBCUniversal’s AllStars program.
Baltimore Explores a Bold Solution to Fight Heroin Addiction
Last year, someone in Baltimore died from an overdose every day: 393 in total, more than the number killed by guns. Dr. Leana Wen, the city’s tireless public health commissioner, issued a blanket prescription for naloxone, which can reverse overdoses, to every citizen — the first step in her ambitious plan to wean 20,000 residents off heroin.
How a Fake Ad Campaign Led to the Real-Life Launch of a Massive Infrastructure Project
Up until 1974, a streetcar made daily trips from El Paso, Texas, across the Mexican border to Ciudad Juárez. Recently, a public art project depicting fake ads for the trolley inspired locals to call for the line’s comeback, and the artist behind the poster campaign now sits on the city council.
Continue reading “10 Innovative Ideas That Propelled America Forward in 2016”
The Most Meaningful Literature, Entertainment and Art of 2016
In a late-night victory speech, President-elect Donald Trump called his base “the forgotten men and women of our country,” and he promised they “will be forgotten no longer.” His line embodied the spirit of 2016: This was the year that nationwide events put a spotlight on plights that can no longer be overlooked. Beyond Trump’s core base of white working-class voters, there was an assortment of marginalized communities making headlines, from the gay Latinos targeted at an Orlando nightclub to the black men confronted by police in Baton Rouge and suburban St. Paul; from indigenous peoples protesting a pipeline in the Dakotas to those fleeing climate change in Alaska and Louisiana; and from hijab-wearing victims of hate crimes to unemployed veterans.
But it wasn’t all doom and gloom, because where there is strife there is also powerful art to make sense of it. And 2016’s collection of books, movies, TV, plays, music and other works was no different, helping us see these groups, to understand their grievances and develop a response. After polling our staff, here is the art that most moved us at NationSwell in 2016.
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This Filmmaker Uses Her Lens to Put the Focus on Social Issues
In the 2001 documentary film “LaLee’s Kin: The Legacy of Cotton,” Laura Lee, a 62-year-old woman in the impoverished Mississippi Delta, struggles to take care of her 10 children, 38 grandchildren and 15 great-grandchildren. We catch a glimpse of how the education system and the criminal justice system have both failed the family, a century and a half after slavery was abolished. Yet the movie stays grounded in one woman’s experience, providing a human view of large institutions. NationSwell Council member Xan Parker, who was an associate producer on the Academy Award–nominated film and has also helped spotlight the problem of hunger in America as a consulting producer on 2012’s “A Place at the Table,” spoke with us about unearthing the stories that resonate with viewers long after the credits roll.
How did you get interested in filmmaking?
I grew up without a television, but my parents took my sisters and me out to see a lot of independent films and documentaries. If there was something good playing in New York, my mother would sometimes drive us up from our home in Baltimore for the day. In college, I was introduced to cinema verité by an experimental filmmaker who taught contemporary art history. The films that really piqued my interest were the Maysles’s films: “Salesman,” “Gimme Shelter,” “Grey Gardens,” the films about [environmental artists] Christo and his wife, Jeanne-Claude. I quickly realized that, although I was an English major, storytelling in film was a more natural fit for me than writing.
What attracted you to documentaries specifically?
All cinema is like magic to me. You’re transported and taken on a journey. You feel really close to characters that you never would have met in normal life. I remember seeing “Brother’s Keeper” in a movie theater in Baltimore right after I graduated from college and thinking, “How did they do that?” It seemed impossible what the directors, Joe Berlinger and Bruce Sinofsky, were doing — this idea that you could take real life and present it as a feature narrative film, that it would function in scenes, cut back and forth for reaction shots, and pass over so much time. But the world does not function like it does in a film. That amazed me and intrigued me. Driven by my curiosity and my empathy, I let those guide me.
Where did you learn your approach to filmmaking?
When I came to New York City after college, I headed for the Maysles Films studio on West 54th Street, like so many aspiring documentary filmmakers before me had done. That was my film school, really. The filmmakers who were there in the 1990s taught me most of what I know. That’s when the richness and immediacy of film really captivated me, with its ability to deliver the most authentic, immediate experience of the human condition.
The Maysles were famous for their fly-on-the-wall method. I’ve heard their approach described as getting to know one’s neighbors. How would you define it?
I love getting to know people and getting to experience a bit of their lives. Albert Maysles told me that he and his brother David just wanted to show the dignity of the working man when they made “Salesman,” a seminal film in direct cinema. They really looked up to their father, who had been a postman, and they wanted to show how his life and his work had dignity. Even the vocation that some people might cast aspersions on — that ironic career of selling the Bible —included people whose lives deserve consideration. And that has always stayed in my mind when I am filming people: “This person has dignity. This person is entrusting me and my crew with that. And we are going to do right by them.”
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What has your production work taught you about what defines leadership?
I believe strongly that filmmaking is a team sport. I learned from my mentor, the director Susan Froemke, to listen to everyone around you, to hear what they have to say about the story. The more you do that — and the more everyone on the team feels responsible for the final film — the stronger it’s going to be.
Journalists are sometimes accused of fitting stories into a preconceived notion. How do you avoid that as a documentarian?
You want to tell the truth, of course. You don’t want people to lie to you. But documentary is different from journalism. In a documentary film, the truth you are telling can be the fact of someone’s emotional state, or the truth of someone’s character. You are chronicling both what happened and what it felt like. I’m less interested in making documentaries that feel like lectures, that try to teach you too much. I want to follow a journey that’s happening or get to know the characters in front of me.
How do you choose what stories to tell? In other words, what narrative qualities do you like to see before you sign on to a project?
A compelling, inviting, magnetic character is the heart of every good documentary. If you have someone who speaks with a bit of poetry, you’re in good hands. And I learned a long time ago from the Maysles brothers’ filmmaking team that you are indeed in someone else’s hands when you are making a verité documentary.
As for subjects, I do have a certain attraction to stories about work — what people do, why they do it, what its greater meaning is. Producing Ivy Meeropol’s nonfiction series “The Hill” was a chance to give audiences a peek into the under-the-radar, but very high stakes, work of the passionate young legislative aides on Capitol Hill.
Tough one: What are your favorite movies?
The documentaries I love are the ones that got into my soul: “Chronicle of a Summer,” “Gimme Shelter,” “Salesman,” “Hoop Dreams,” “Grizzly Man,” “Manda Bala,” “Harlan County, USA,” “Brother’s Keeper,” “Two Towns of Jasper,” “Fog of War,” “Bowling for Columbine.” Every single one of them has some indelible moment that will never leave me. If I can pick one I worked on: “LaLee’s Kin.” And right now two films that I am thinking about a lot are Kirsten Johnson’s touching and personal “Cameraperson,” as well as the incredibly timely “13th” by Ava DuVernay.
How do you create those indelible moments?
Trust in providence. It’s something that comes and goes, but when making a film, life provides. David Maysles said frequently, “Don’t worry if you didn’t catch that key moment on camera. Just wait and it will happen again. Or something like it will.” It’s the incredible thing about documentary film: You never get writer’s block.
What are you most proud of having accomplished?
There are so many points of manipulation in film. You choose the story you want to tell, then you “cast” by choosing who’s going to be at the heart of that story. You choose when you’re going to film them and what questions you’re going to ask, then you choose what footage you’re going to use and evoke a mood through editing, music or graphics. Hands down, the greatest moment in making a film is when you show it to the subject and they say, “That’s it. You got it. You got everything right.”
How a Fake Ad Campaign Led to the Real-Life Launch of a Massive Infrastructure Project
Donald Trump’s call for a “big, beautiful wall” along our southern border hasn’t resonated in the West Texas city of El Paso. Already connected to Mexico by the world’s largest border metroplex, local officials want to further link El Paso to its sister city, Ciudad Juarez. Last January, they started laying tracks for a streetcar line that officials hope eventually will shuttle passengers between the two countries, as it had once done for most of the 20th century.
Notably, and rather unusually, the El Paso streetcar initiative gained steam as a public and performance art project. In 2011, black-and-white portraits of a smiling train conductor started popping up around town, sometimes accompanied by the phrase Sube al futuro: Go to the future. A few months later, a wheat-pasted mosaic on an abandoned brick building featured hundreds of locals’ faces; together, the composite formed an ad for a retro streetcar, which resembled the Art Deco-ish trolley that ran 63 miles between El Paso and Juarez until 1974. At that point, conceptual artist Peter Svarzbein, an El Paso native, introduced himself as the creative mind behind the El Paso Transnational Trolley Project.
In the five years since, an even odder confluence of art and life took place. The fictional ad campaign gave a fresh face to the public transit movement, which helped turn it into a multimillion-dollar construction reality (the first 4.8-mile section is set to open in 2018). Meanwhile, Svarzbein ran for office and now sits on the nine-member city council, which provides direction to the agency responsible for the El Paso’s transit projects.
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“Border crossing is what defines us,” Svarzbein says of his city. “It’s in the best interest, for both El Paso and Juarez, to allow these people to cross over. They’re not doing it to take our jobs and our Medicaid, or whatever rhetoric is espoused. We understand our people crossing over symbolize the dreams of what this country has always been about.”
The son of an Argentine-born surgeon and a French-born nurse who moved to El Paso together in 1978, Svarzbein grew up accustomed to a border town’s cross-cultural influence. In high school, he and his friends regularly trekked next door to dine out at restaurants or take advantage of Mexico’s younger drinking age at nightclubs.
But shortly after Svarzbein moved away to attend Franklin & Marshall College, a liberal arts school in Pennsylvania, the tie between the sister cities was snipped. In 2006, the Mexican president Felipe Calderon launched an all-out assault against the country’s powerful drug cartels, an opening salvo that led to turf wars in Juarez and chaos along the border. To respond to the violence, Svarzbein began looking for a way to remind residents of both countries of the connections they shared, despite the brutality.
Researching symbols of unity, he came across pictures of El Paso’s old trolley line. For his master’s thesis at the School of Visual Arts in New York City, he decided to create a series of fake ads for the tram’s revival. Both conceptual and commercial, a historical documentary and a performance piece, the art project blurred genres — not unlike how living on the border can entwine residents’ identities.
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In 2012, Svarzbein’s fictional vision for a revitalized streetcar system started to become reality when he discovered the city planned on selling the old, rusting trolleys to San Francisco. “I said, ‘Oh, hell no,’” Svarzbein recalls. He began lobbying city officials to apportion part of a quality-of-life bond to reviving the streetcar, and he gathered over 1,800 signatures. The outpouring of support eventually won a $97 million grant from the Texas Department of Transportation.
When the first phase opens, the trolley will make 27 stops along a route from the University of Texas El Paso to the city’s downtown. It’s expected to pick up about 1,480 riders daily, topping 540,000 trips a year. The line will use six vintage Presidents’ Conference Committee cars, a tram design that became popular in 1936, around the time FDR was reelected for a third term; each is being refurbished with Wi-Fi and air-conditioning. “For some people, it taps into nostalgia. They remember when they were kids, riding the streetcar with their abuela, when it was easier to go into Mexico,” Svarzbein says.
The public-works project is a nod to the city’s history, but Svarzbein hopes that it will also create new opportunities on both sides of the border. “We have the ability in this region to not just design an idea, but to build it,” he says. “We need to make sure that people and businesses are able to cross the border in an efficient and safe way.”
That, after all, is the promise of an international streetcar, he adds, especially in a time where inflamed political rhetoric paints the US-Mexico border as an area in need of armed patrols, rather than more ports of entry. “What much of the country doesn’t understand — and what we understand all too well being in these twin cities — is that border security is economic security,” Svarzbein argues. “Providing jobs are how you make this area safe. Jobs are how the cartels don’t have as much power. Jobs are how you grow this region.”
An earlier version of this story suggested Svarsbein was the sole instigator of the project, when he was actually one of several people advocating for it, and that the cartel-related violence in Juarez had reached across the border. We regret the errors.
Homepage photo courtesy of Peter Svarzbein/mongovision.com.
How the Arts Are Saving Small Towns From Extinction, Finding Redemption Through Friendship and More
Can the Arts Help Save Rural America? Stateline
In nearly half of America’s rural counties, more people have moved out than in during every single decade since 1950: Young people, seeking a vibrant culture and job opportunities, have fled to big cities in droves. To avoid becoming ghost towns, small communities across the country have begun investing in music festivals, remodeling old opera houses and opening art galleries to bring young families back to their hometowns.
The White Flight of Derek Black, Washington Post
His father created Stormfront, the infamous racist web forum; his godfather was once Ku Klux Klan grand wizard. By high school, Derek Black was primed to lead America’s white nationalist movement. Yet after enrolling at New College of Florida, a Jewish classmate (who’d read Black’s neo-Nazi posts) invited him to a Shabbat dinner. As this story of redemption shows, there’s a way to defeat right-wing, racist extremism: not to attack its hate, but to overcome it with conversation and understanding.
California Restaurants Launch Nation’s First Transgender Jobs Program, NPR
Transgender individuals are twice as likely to be unemployed as the rest of the nation’s workers. To change those figures, Michaela Mendelsohn, a transgender businesswoman, hired 150 trans workers at her six El Pollo Loco restaurants, and she recently persuaded the 22,000-member California Restaurant Association to join the effort to overcome discrimination in the workplace.
On Blending Art and Activism
Every day until November 8, bands are releasing songs about what’s at stake in this election. As part of an effort called “30 Days, 30 Songs: Musicians for a Trump-Free America,” new original music, live recordings and remixes are dropping daily. (A sampling of the work released so far includes the songs “Million Dollar Loan” by Death Cab for Cutie; “Demagogue” by Franz Ferdinand; and “Same Old Lie” by Jim James of My Morning Jacket.) Jordan Kurland, owner of the San Francisco–based Zeitgeist Artist Management, says he organized the project along with author Dave Eggers “to save our country.” Kurland spoke with NationSwell about his latest politically-driven project.
When did you first get interested in music?
I was an obsessed music fan from a very young age. At 6, I had every KISS record, and it just went on from there. It became a driving force in my life through high school and into college. At Pitzer College, outside of Los Angeles, I started reviewing records and interviewing bands for the school magazine and freelancing for some local publications. Through that experience, I started to meet people in the industry. That’s when I stuck around L.A. for internship opportunities at record labels and management companies.
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What effect are you hoping to see from the “30 Days, 30 Songs” project?
Music has always been an important part of politics and protest. In 2012, there was a surprising amount of apathy around Barack Obama’s second term: People felt like they all had bought into this idea of change and hope, but that he hadn’t come through on a lot of promises. When we launched “90 Days, 90 Reasons” [daily pro-Obama writings from cultural heavyweights] to motivate voters to re-elect him, we felt like it was an easy way to get people to pay attention to what’s at stake. It’s very much the same this year. We’re getting artists to come out and say, ‘You know what, there’s a lot at stake here.’ Donald Trump is a huge threat to our democracy and our belief system. And we need to point out his hypocrisy and the danger he poses, or play up what’s great about this country and what we want to preserve.
How do you fold public service, whether it’s raising money or awareness, into the music business?
That’s always been part of my DNA, and I’m grateful I have clients who also are interested in that, whether it’s donating money from tours and merch sales or getting involved in political issues. Artists have a way bigger soapbox to stand on than I ever will. I’m fortunate that I can help them come up with a plan and execute it. Maybe it’s sometimes to the detriment of my management company, because maybe I’d be cultivating a new artist instead. But it keeps me passionate about what I’m doing. There are periods of time where you’re doing the same thing for 20 years, so to get involved in things that keep it fresh is important.
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What albums have you listened to most in your life?
The Who’s “Quadrophenia” and “Who’s Next”; John Coltrane’s “A Love Supreme”; Bill Evans’s “Sunday at the Village Vanguard”; and “The Bends” by Radiohead. Those are my mainstays, the handful of records that mean a ton to me. I’ve certainly worn out my copies of them.
What’s your proudest accomplishment?
I’m proud that I’ve been able to do this as long as I have. When I was young, I struggled for almost 10 years. There was a long stretch where I wasn’t anywhere near the level of success I wanted to be at. During that period, I always felt that if I had a gold record to my name, I’d have a level of success that’s really meaningful to me and I could decide whether or not I wanted to continue in this career. I’m proud I accomplished that and then some. I’m proud that I stuck with it and was able to take a path that not as many people travel.
This Innovative Library Program Is Helping Underserved Kids Tap Into Their Creative Potential
Walk into a North Philadelphia library, and you’ll be greeted by an unusual sight. While adult patrons surf the Web and whisper in hushed voices, adolescents giddily piece together sticks and balls to make structures that snake across the room. Grownups leave with books under their arms; kids carry out hand-sewn wallets, colorful birdhouses and wands tipped with glowing LED lights.
Maker Jawn, a year-round Free Library of Philadelphia initiative funded by an NBCUniversal 21st Century Solutions grant, opens branches’ underutilized spaces to middle school students to experiment with hands-on creation. The program began in 2011 as a way to fill a gap in the city’s public school education. Noticing that arts and music classes were being slashed in favor of test-prep memorization, the library stepped in to supplement project-based creative arts learning. The term maker jawn comes from the learning environments known as Makerspaces, in which participants experiment with creative technology, and from the slang word jawn, which originated in Philly’s hip-hop scene and can take on the meaning of any noun in a sentence. The Free Library of Philadelphia chose it for the program’s title to suggest the range of work that youngsters could create, where nothing is off-limits.
Supplied with iPads, power tools, a 3-D printer, hot-glue guns, paint and buckets of marbles, buttons and other knick-knacks, the preteen participants are given free rein to build what they please. To an outsider, it might seem the kids are just messing around, making arts and crafts from leftover junk. But for many of its young devotees, the program is a welcome change from the confines of a school day shaped by strict, rote learning and a respite from some of the hardships of life in an impoverished neighborhood. The mentors who run Maker Jawn’s daily lessons see that the kids are tapping into their creativity, maybe for the first time, and building up diminished self-confidence.
“People who are always told what to do can be overwhelmed at first when you say, ‘Here’s the material. Go for it,’” says Sarah Winchowsky, the project coordinator, of working with the kids. “But by giving them avenues to branch out, they flourish.”
Case in point: Musa Andrews, who wanted to make a sci-fi gangster film in the library’s back room. Andrews was just 13 years old when he began scripting “Godbrothers, Part I,” a time-warped flick with scenes set in prison, space, heaven and hell. Two years later, after crafting props and costumes, recording an original song, shooting in front of a green screen and a belabored editing process, Andrews presented a 22-minute film. Sixty people gathered for the premiere. Andrews has since taken video-production classes and gotten involved with filmmaking groups downtown.
“This is a place to assert some agency over the physical world,” says Goda Trakumaite, a Lithuanian artist who’s been a Maker Mentor for nearly three years. “Self-esteem comes with that. ‘I never used a hammer before, and today I built a bird-house. Tomorrow I want to learn more.’ That feeling of being capable and powerful is the coolest thing that I think kids gain over time in the program.”
To that end, all ideas are encouraged, says Trakumaite. “It’s rare for these kids to be in a place where they’re in charge, and where an adult functions more as support rather than an authority figure,” she says, adding that in the library, you rarely hear a “no” or “don’t do that.”
The freedom to tinker with new materials, to try things out and to fail, is particularly important in low-income neighborhoods. For the primarily black and Hispanic population in North Philadelphia, students who don’t perform well in school often believe they’ve been written off. “There is a cycle that perpetuates itself, of violence and poverty, that leads to self-deprecation,” says Winchowsky. “The kids will say, ‘I’m a failure,’ and then they’re then unlikely to try again.” Every child has inherent talent, she adds, and it would be a shame if a kid never discovered it simply because he or she was too scared to try.
Beyond personal development, Maker Jawn also squeezes in academic enrichment. “Our goal is to have them learning without realizing it,” explains Winchowsky. That can happen when a mentor, for example, subtly schools the kids in thermodynamics while demonstrating how to make a lava lamp from old soda bottles, water, oil and dye. Or when building a self-moving robot — in one instance, a rudimentary, solar-powered motor attached to four wheels became a lesson in circuitry and photovoltaic cells.
And sometimes the education is behavioral too. One 10-year-old troublemaker who poked her classmates and cursed under her breath for her first 18 months of visits did an about-face when one library branch put on a fashion show. “She was in her element,” Winchowsky recalls. “She was engaged and had a purpose.” Mentors stopped reprimanding her; instead, they applauded her suggestions during the four months of prep for the big night.
On the whole, the program offers a different vision for what role libraries might serve in the future. Upending its traditional role as warehouses for printed books, the Free Library of Philadelphia is pushing a broader definition of knowledge that includes artistic experimentation and digital literacy. To some adults, “the library is supposed to be a quiet place for studying or reading a book. But that’s not just what it is about anymore,” notes Winchowsky. While physical pages might be disappearing into the cloud, the library’s physical space is more important than ever as the site for interactions, making it akin to a community center. “I feel that Maker Jawn has a place in this new library model because it’s a space to share ideas,” she says. “That’s what I see libraries moving toward: They’re becoming less about the books and more about hands-on information sharing.”
Maker Jawn is transforming libraries into more freewheeling, open spaces. The kids leaving with kites, cereal-box castles and solar-powered robots aren’t just walking away with cool new toys. Over the course of a couple hours, they’ve been tinkering with a new, stronger sense of self.
Maker Jawn is a recipient of the 21st Century Solutions grant powered by the NBCUniversal Foundation, in partnership with the NBCUniversal Owned Television Stations. The grant celebrates nonprofits that are embracing innovative solutions to advance community-based programs in the areas of civic engagement, education, environment, jobs and economic empowerment, media, and technology for good.
Democracy by Design
New York City’s housing court might not be the most obvious subject for a comic strip. But for tenants doing battle with landlords, the colorful, often whimsical illustrations contained in “Housing Court Help,” an animated booklet that educates renters on their rights, can mean the difference between staying in their homes and getting evicted. It’s just one of many creative projects developed by the Brooklyn-based Center for Urban Pedagogy (CUP), a nonprofit that uses art and design to increase civic engagement. Under the leadership of executive director Christine Gaspar, the small team works on roughly three dozen projects a year; most recently, a documentary about trash infrastructure, a bilingual guide for immigrants buying health insurance and a comic book about succession rights on apartment leases. NationSwell spoke with Gaspar at CUP’s offices in Brooklyn’s Gowanus neighborhood.
How have your views on leadership evolved over the course of your career?
I once had a colleague who went through an assertiveness training for women, where the tagline was “Die Before You Cry” — which is really intense! I thought about that during an emotional moment a while back, when I was talking to the staff. It was the day the ruling came down that there wouldn’t be an indictment in the Michael Brown case, and I just started crying. We ended up having a really powerful conversation. Afterward, two staff members emailed me saying how proud they are to be part of an organization where it’s okay to show you’re vulnerable, particularly around issues that are important to you. I realized then that there are other ways to show leadership. Namely, the ability to not just focus on the day’s workload, but also having the freedom to say, “You know, something really bad happened today, and we need to talk about it.”
What innovations happening in cities are you most excited about right now?
One cool thing that New York has been doing, and that CUP has been involved with, is participatory budgeting, where public funds are allotted according to how community members want to use them. Rather than representatives choosing for us, we’re voting ourselves, picking what the projects are and developing the proposals. New York City Council members have been doing this for the last two years, and it’s growing: more and more districts are doing it every year. It can be labor-intensive, but it really engages a lot of people, especially those who aren’t traditionally involved with political processes. There are more low-income individuals, people of color, undocumented people who normally have barriers to civic engagement, and younger people who aren’t old enough to vote. It’s broadening the scope of who gets to be civically engaged.
Where do you find your inner motivation?
The combination of getting to do things that are creative and visually expressive but that are also impactful and meaningful to people is so exciting. I feel really lucky to work with such an amazing group of people on the CUP staff. We also collaborate with a group of partners and many community organizers, all of whom represent different perspectives. Then there is our work with talented artists, designers and visual thinkers. It’s an interesting combination of people, fields and topics. There’s never a day where you feel like, “I got this. I already know everything that’s going on today.” It keeps things exciting.
What do you wish someone had told you when you started this job?
I wish someone had told me to go home more. When I first started working here, CUP was really small — a three-person staff at that time — and it was the first time I was running an organization. I felt this incredible sense of responsibility, which I still do, but also fear of doing something wrong. I worked a lot of hours, because I was so nervous about making sure that I wasn’t missing something. The truth is that you’re always going to miss something. At the same time, one of the things I contributed to CUP is making it an organization where we don’t all work crazy hours. We work really hard, people are incredibly committed to the organization, but they also have families and hobbies and outside lives. It took me a while to make it sustainable as a place for me to work.
What’s your proudest accomplishment?
When I started at CUP, there were only three of us on staff, and now there are nine. Every day, they go out and work on projects, and together, we continue to build this organization. That feels really good, that I played a big role in bringing us to where we are today.
What’s your favorite book?
If I’m being honest, I’d probably pick a children’s book, because I really like the illustrations in them. I feel like they speak to my work in that they use visual storytelling to achieve clarity and accessibility. Some of my favorites, which I think of often and now share with my child, are the Richard Scarry books, like “Busy, Busy World.”
What don’t most people know about you?
I’m from Waterbury, Conn., which used to be the brass capital of the world. When I was growing up there, the town was the brownfield, Superfund capital of the Northeast, with heavy-metal manufacturing and abandoned factories. I grew up in a fairly low-income, working-class family, and my parents are immigrants. I can relate on a personal level to a lot of the projects I work on today, because they’re consistent with my own experiences. These are qualities that aren’t visible to people, but I believe that my background has informed the way I work and the things I think about.