Archive for the ‘Accessibility’ Category

Cathy Kudlick: From Denial to Director

Wednesday, January 27th, 2021

Image of Cathy Kudlick in front of a microphone
Happy New Year!

We’re starting the year off with centering the main goal of this podcast – providing that peer to peer support and information for those adjusting to blindness & disability.
To kick it off, I’m excited to have Cathy Kudlick back on the podcast. Last time we talked all things Superfest Disability Film Festival. This time she’s sharing Valuable experiences from her life that helped her move away from denying her blindness to using her interests and abilities to become Director of the Paul K. Longmore Institute on Disability.

She’s dropping gems for those who are currently struggling with their loss. Some really valuable lessons learned from her own experience. You’re going to want to hear what she has to say, so let’s go!

### Listen

Resources

Transcript

Show the transcript

TR:

Happy New Year Reid My Mind Radio Family!
My name is Thomas Reid, host & producer of this here podcast! Bringing you compelling people impacted by all degrees of blindness & disability.

Why you may ask?

Opening Mercy Mercy Mercy, Cannonball Adderley
— Applause
“You know, sometimes we’re not prepared for adversity. When it happens, sometimes we’re caught short. We don’t know exactly how to handle it when it comes up. Sometimes we don’t know just what to do when adversity takes over. And I have advice for all of us.”

TR:
Who better to get that advice from then those who have traveled that similar journey!

There’s no time to waste so let’s get it pushin’! Hit me with the huh!

Audio: Reid My Mind Theme Music

Cathy:
I’m Kathy Kudlick, and I’m director of the Paul k Longmore Institute on Disability at San Francisco State University. And I am also a practicing historian, which means I got a PhD in history.

TR:

I told you she’d be back!

Cathy was on the podcast with her colleague Emily Beitikss in September of 2020 talking all about The Superfest Disability Film Festival.

I knew I had to get her on when she mentioned her own experience with vision loss. Today, we’re focusing more on her story!

Cathy:
I was born totally blind with cataracts, at a time when they couldn’t really fix them very well. And so my parents in the first like, nine months of my life, basically, you know, kind of realized they were going to be bringing up a blind daughter, but they still didn’t give up.

TR:

Cathy describes her early experience with blindness as a Salmon swimming upstream, you know going in the opposite direction or against the current.

Cathy:

Yeah, it’s like I was going sighted instead of going blind.

At one point, I was seated on a chair, and my dad was taking a picture of me, and I reacted to flash. And so they said, Whoa, wait, there’s something that’s happening.

TR:

She was developing vision!

A family friend helped connect them with a prominent doctor who said he could help.

Cathy:

And he did.
When I was nine months old, they removed the cataract, my vision afterwards was still pretty darn crappy, as doctors would subsequently say, but you know, it was better than nothing at all, they said. And so I went through most of my life up until my teenage years with this pretty darn crappy vision

TR:

Additional surgeries gave Cathy more vision, but as we know, vision is complicated.

Cathy:

My brain didn’t learn when I was young enough to make the association. I can stare at something for quite some time. A lot of people will make that connection in five milliseconds, and I’ll be sitting there Okay. Is that a dog or house? Eventually, I’ll get enough input and enough clues and say yeah , it’s a house. Then I’ll fill in all the rest.

In the process of all this, I have Nystagmus, which is a muscle thing where the eyes basically jump all over the place. If I could just hold them still, I’d probably have pretty decent vision, but I can’t.

They say that Nystagmus later in life, it’s a lot, lot harder. And in my case, it’s all I’ve ever known.

— Music begins – calm melodic beat —

TR:

We often think it’s a natural process to adjust as a child, but some things require more attention.

Cathy:
I inherited my condition from my mother.

But society being what it is and prejudice being what it is, and denial being what it is. My mother did not want to admit this to me.

One of my big journeys in life is kind of reconciling well, who I was, who my mom was, and being able to talk to her about it. And even pretty late in life. She was starting to come around, but it wasn’t easy. It was really hard for her. She grew up in a different time, a different place.

— Music begins –
TR:

A time & place where disability identity wasn’t a thing.

Cathy’s specific experience with blindness is unique to her but what we all share is finding our path to acceptance. And that’s not often easy for those adjusting to becoming blind. In order to see how Cathy went from denial to Director of a disability Cultural Center we have to go back to her early experience with vision loss.

Cathy:
Growing up, it was just denial city,

It kind of reminds me of the cat that I have that hides under the bed, but its tail is sticking out.
They think they’re hiding, but everybody else is like, whatever, you know, go ahead and hide all you want.

The world really is set up for that kind of denial. I mean, you get all these enablers to help you do it because it’s so much easier for everybody.

TR:

Meanwhile, the person experiencing the loss, continues to struggle.

Cathy:
I loved my history classes. And I would just bury myself in a corner with regular print books, and a magnifier, but I didn’t want anybody to see me reading with a magnifier, if I can help it. I know I shook my head a lot to Read. I’d bob it back and forth, because of Nystagmus. I was ashamed of reading. it was like I had an accident or wet my pants or something to be caught reading in front of other people. It was so humiliating for me.

TR:

That pain goes beyond the emotional.

Cathy:
I remember getting my first cane and putting it in the closet, and it felt like it was just irradiating out from it, like, Oh my god, there’s a cane in there, you know, like, it was like a beast that I put inside.

— Ambient radiating sound begins …
— Music fades out —

I injured myself pretty significantly a few times by not wanting to use the cane because I could technically get by and if I use the cane and didn’t trip for three weeks, or three months or whatever, and I tripped the fourth week, Well, look, I got three weeks as a sighted person.

TR:
These experiences are not unique to Cathy. In fact, it’s more of a reflection on our society. A society that pairs strength with over coming and fails to see value or strength in difference.

Cathy:

They never bothered to teach me Braille.
And if I had learned Braille as a kid, when I was starting out, even if I turned out to be like a total 20/20 person, wouldn’t it be cool to know how to read Braille?

But, there’s so much stigma, things like, Oh, you don’t want to do that.

It’s so ridiculous. You realize how you’re tied up in little knots by society, by other people.

I could have been a more social person earlier on, I could have been a different person earlier on if I had not tried to pretend so hard that I was seeing like, everybody else.

TR:

We all travel at a different pace. Perhaps longer journeys accumulate valuable lessons.

Cathy:
Everybody makes it in their own way. There’s no right way to do it. Once you break that barrier, everything opens up, it gets a lot easier, but you got to get to that barrier. And however you can do it, if you even have a hint of how to do it. Go there early and go there often to get to this other place because it’s a lot better once you’re not in denial anymore, not trying to pass. Not trying to pretend you’re somebody else. That just frees you up, big time!

TR:

That’s a place that’s important and meaningful to you.

— Music begins –
Things you enjoy – not what some so called expert designates as appropriate for “someone with your condition”.

Cathy:

I started using those tools of being a historian to studying blind people. And that was really, really an important moment too, because you realize, one, you’re not alone. And to there is a history there.

I think knowing that there’s people like you that came before you, no matter who you are, and what identity you’re wrestling with, is so powerful, and so liberating, because it means you’re not the only one. You’re part of a tradition, you’re part of a process for a society. It’s not just us selfishly trying not to be treated badly.

TR:

That experience of discrimination or being treated badly, well that can ignite a fire. .

Cathy:

I’m mentioning the name, not to punish them, but just to show these were different times, and I’m not trying to make it up or cover anything over.

I had my first academic job at Barnard College.

I was starting to open up about my vision impairment and sort of being honest with people because I felt comfortable enough to do that.
but it came back to me that they did not want to keep me on, or they didn’t want to really consider me for another longer term job there because of my vision impairment.

They asked me to teach a large lecture class in front of a bunch of people just to see how I would do.

and something when they asked me to do that made me realize, like are you asking other people to do this.

So I said, No, I wouldn’t do it unless they were making all the candidates do it. Needless to say, that job application didn’t go much further.

TR:

That experience helped form a new way of thinking.

Cathy:

If I got kicked out of a job and didn’t get a job, because of my blindness, maybe there’s a flip side to this where I could say this is an identity and get people to think about identity differently.

This was before I knew much about disability studies, this field was kind of just taking off, there was no real disability history at that point.

TR:

So Cathy used her tools!

Cathy:
I started doing research in the French archives, where I did history of medicine, research, and I hooked up with researchers there Talk, talk to them. And it turns out, there’s a really great person that I have coauthored with Zina Weygand.

She introduced me around about scholarship and people and suddenly I was off to the races. It used a lot of talent that I already had in terms of this history research. I was basically off, off and running.

TR:

Her curiosity led to the discovery of a history of Blind people that I’m sure many are unfamiliar with. It began with a pamphlet.

Cathy:

It was called reflections, the life and writing of a young blind woman in post-revolutionary France, and it was handwritten and stuff. And I, I had a lot of trouble reading it. I sat in this archive, by myself. I had this one librarian that would read to me and helped me a lot. I ended up transcribing it and talking a lot with Zina , she was like, Madame history of the blind in France.

TR:

The booklet, written in the 1820’s, authored by Adele Husson, who wrote about her experience as a Blind woman growing up in France.

Cathy:

Nobody had ever written anything about that. We figured out she probably dictated it to different people because the spelling was different in different parts. And the handwriting was different in different parts.

TR:

Cathy and Zina were able to put together the author’s backstory through arduous research

Husson was concerned with being a burden to her family. In her quest to become a writer, she traveled on her own from provincial France to Paris. Her motives for writing weren’t just creative.

— Music ends
Cathy:
She wanted to ingratiate herself so she could get a residency in this place in Paris where Blind people could live if they did the right song and dance to get in. So she wrote this document, and they ultimately refused her.

Call to Action
— Music Begins
TR:

Are you enjoying this podcast? I can’t hear you.

“Can you dig it!” (Crowd roars in cheer!) – Warriors

TR:

One of the best ways to show your support for what we’re trying to do is to just share the show!
Tell a friend to tell a friend.

That way we’re more likely to get this into the earholes of those who need to hear it. And that’s the important part.

You could also give us a review on Apple podcast. The more reviews and 5 star ratings the more likely people will discover us.

Do you have a topic you want to recommend? reach out!

Email ReidMyMindRadio@gmail.com or call 570-798-7343 and leave a voice mail.

And of course Subscribe, wherever you get podcasts!
Thanks family!! And now back to the show!

— Music ends! —

TR:

Adele’s writing, let’s say left much to be desired, but she did achieve her goal.

Cathy:

We figured out at one point that she published more books than George Saund, who was a pretty famous writer at the time.

One of the things that was interesting, we found a book that had a preface, the story was really similar to her story, but it had a different name and the preface.

And it turned out that despite the fact that she said, Blind girl should never marry because if they marry a sighted guy, he’s just going to take advantage of them. And if they marry a blind guy, their prospects are totally bleak. They’ll die in a fire or something terrible will happen to them.

TR:

The research indicated Adele did marry…, a Blind man!

Cathy:

She died in a fire just like she predicted.

TR:

It’s unknown if her two children also died in the fire. Her husband, however, survived and went on to become well known in the Blind community.

Cathy:

He made this invention that you could use to communicate between sighted people and blind people with writing and translating.

He married a sighted woman and lived until he was about 70.

TR:

Cathy’s researched uncovered a community of Blind musicians and literary people in the 1820’s and 30’s.

Cathy:

Eventually, Louis Braille was part of that world, too. He knew Adele’s husband, we think.

[TR in conversation with Cathy:]

When you say a community at that time, I’m thinking, is this an actual community physically? Because how were people actually communicating if they weren’t in the same location?

Cathy:

Good question.

So there are two kind of physical possibilities for them.

One of them was a, the residents that she was trying to get into, and there were a lot of blind people that live there. And they had all sorts of rules about who could live there.

There were the schools that they all went to. National School of blind youth, if you were Blind, anybody in France, you went to this, you went to Paris and went to this one school. I think there was also one in Bordeaux, another large city in France.

In general, you knew people from being in the schools together.

TR:

There’s even some evidence of more social activity.

Cathy:
There was actually a place in Paris called Café des Aveugles, the Blind people’s cafe. It was kind of a seedy establishment in the seedy part of the city, but they would go and hold concerts there, met and exchanged ideas. We don’t know the details so much, it could be as much as like four out of the 40 people that were there were blind but you know, four blind people really make a stir. (Chuckles)

[TR in conversation with Cathy:]

Laughs!

Cathy:
You see these little glimmers of blind culture that are out there, but we don’t know until people really dive in to research it. With access to these archives now, kind of really hard and not organized and not funded. It’s, it’s a little bit harder, but I think the time will come eventually.

TR:

The value is in how these stories are interpreted and put to use.

Cathy:

Once I kind of made that connection, then I could frame a lot of my research as disability as a cultural identity, or as formed in history and as being part of history as opposed to just some weird, random medical condition that affects a few people that nobody cares about.

TR:

We’re talking about a significant shift in perspective. Moving away from a very mainstream view and offering something more empowering.

Cathy:

Don’t just try to fix me, let’s, let’s look at me and what I’ve learned as an expert, because I have a lot of talent and a lot of craft and perspective. I don’t mean me, Kathy, I mean the global we, people with disabilities who have perfected through studying, not just scholarly ways, but just kind of observing, you have to observe society pretty carefully to know how things work.

TR:

If you’re someone who has been running away from your vision loss, I need you to hear this.

— Music Ends

Cathy:

Passing, people disparage it all the time, but boy talk about being a really careful study or of society and knowing how the rules work. If you view passing as the first part of a two part exercise, then passing is a really set of useful skills to have.

TR:
You have to really know how things work in order to fit in. But it doesn’t have to be about passing.

Cathy:

You use those skills for something else and you stop passing and you say, okay , let’s pull it apart. Why do people cross the street that way? or Why do people think that this is important and not this?

Any question is fair game. Disability is so central in things that people have never thought to ask about in a cultural and social and emotional way before it’s always non-disabled people that are framing those questions, and when you put us center, us ask the question, it’s a different thing.

TR:

Centering people with disabilities, the results can be extraordinary!

— Music begins – something upbeat and in the spirit of conquering or coming to terms…

[TR in conversation with Cathy:]
At the time that you started to pursue disability studies, would you say you were still sort of passing? It sounds like you were on your way to…

Cathy:

I was on my way, I was on my way. And I remember going to my first society for disability studies, meeting and feeling like I sat at the bar at Star Wars. It’s like, there’s all these different creatures around and I was like, Okay, these are sort of my people, but some of them not all of them.

TR:

That’s honest. And I know I appreciate that because, I too was there.

But it ain’t where you’re from… it’s where you’re at!

Cathy:

I used to be terrified of other disabled people, I didn’t want to be associated with them at all, are you kidding?

That’s scary. Those people are way more disabled than me, they need more help than me and what’s wrong with me that I would identify with that when I could be in the mainstream, non-disabled society.

TR:

But then you start meeting the people and your opinion and feelings change. You realize well of course we’re not all the same, but some of these people I really do identify with. And for Cathy, that brought her to a realization.

Cathy:
I think I fit more with the people that are the disabled people than the non-disabled people.

In society, there are very few positive settings, where people with disabilities get to be a majority. And that’s what’s so great about our film festival when it happens in person. Superfest is like 4050 60% people with disabilities in a positive way, where people are having a good time, they’re teasing each other, they’re laughing together at the same jokes.

Suddenly, you’re in an environment where there’s more of you than there are less of you. It’s like Whoa. You kind of get a bounce in your step, or your wheels or whatever. And suddenly, you get to be a person that’s in a majority culture, in a way that’s very exciting and validating and powerful.

TR:

History helped establish this identity, meeting other Blind people helped it grow.

Cathy:

I did a training at the Colorado Center for the Blind about 20 years ago. It’s run by and for blind people. they make you do everything they’re blindfolded, wearing sleep shades. You learn travel, cooking. It’s really extreme, you go downhill skiing, rock climbing, all these things.

You learn not to be so afraid.

TR:

Afraid of what is often described as the never ending darkness! (Yuck!)

But fear, well, that’s just an acronym for False Evidence Appearing Real!

Cathy:
You’re taught travel, and everything by blind or low vision instructors. And you know, a lot of sighted people freak out about that. They’re like, Oh, my God, how are you going to be safe or whatever. And I’m thinking, if I’ve got to learn to travel and be safe somewhere, I don’t want that to come from a sighted person, I want to know that a blind person has figured out how to do it, and they’re going to show me.

TR:

Once again we see the role fellow Blind people can play in our adjustment.

Cathy:

Wow, there’s people that really do cool stuff and I can learn from this.

Sight isn’t everything in the entire world. It’s something to value, but it’s not the end all and be all there’s a lot of people that don’t rely on it and can’t rely on it. And they have lots of really interesting and fun and great ways to deal with it.

people focus on that light and the dark and all of that stuff and they don’t give you a place to really meet other people that have figured some stuff out. And I think that’s where your podcasts kind of great to be, you know, you meet all these people that are engaged and, you know, vital and fascinating and fascinated and, you know, wow. Once you crack that nut, I feel like things get a lot easier.

TR:

And if all that wasn’t helpful enough, Cathy offers another piece of advice for those adjusting.

Cathy:

I did a lot of therapy. Anybody that’s afraid of therapy, get over it. Find a good therapist. Get somebody that’s going to push you about this stuff.

I remember I had a therapist who didn’t know a ton about disability stuff, but he was still open, and he listened.

He kind of pushed me. At one point, he said, Would you rather be an incompetent sighted person? Or a competent blind one?

I sat with that question forever, because if I had known, that’s the choice that I was making, I think I would have freed myself up sooner.

[TR in conversation with Cathy:]

Do you think there’s anything about that journey that you actually had to go through in order to be where you are today?

Cathy:
Oh, wow, that’s a great question. (Pause)

Probably

I mean, I am who I am. And it’s all this, like, kind of jumble of what’s me.

TR:

She’s Cathy Kudlick…

[TR in conversation with Cathy:]
So Kathy, you already know you are…

— Audio: “Official”

member of the Reid My Mind Radio Family.

Cathy:
Yay! (Laughing) I was waiting, I was living to hear it. I was living to hear it!
(Cathy & Thomas laughing together fades out)

TR:

Cathy Kudlick, I so appreciate you and you taking the time to share your journey with the family.
And family is supposed to look out for one another. Sharing our journey’s because we know how that can impact another person experiencing blindness – whatever the degree.

You can find Reflections which contains the translation of Adele Husson’s original booklet along with thoughts from Cathy and Zina Weygand on Bookshare.org.
For that link, more of Cathy’s writing, transcripts & more head on over to ReidMyMind.com. And yes, that’s R to the E I D
(Audio: “D and that’s me in the place to be” Slick Rick)

Like my last name.

Peace!

Hide the transcript

2020: The Year of Adjusting, Not A Just Thing

Wednesday, December 9th, 2020

I’m pretty sure most people will be glad to see 2020 come to an end.

But it didn’t start out that way. In fact, the year for so many was a symbol of a bright future, as in 2020 Vision. That idea can really be misleading!

Whether we’re talking about blindness specifically or the Covid19 pandemic,2020 was all about adjusting.

Police senseless killings, Black Lives Matter, Healthcare, we are lacking a just thing!

A look back at 2020 from this podcast’s perspective in just 20 minutes and 20 seconds!

Listen

Resources

Shout out to V! AKA Victoria Clare on her new single “By Any Means” Featuring, wait for it… me, the T. R to the E I D!

Transcript

Show the transcript

Audio: Oprah Winfrey’s 2020 Vision…
Oprah: “OMG! It’s about to happen (Crowd cheers) So of the nine visionaries joining us on the WW presents ah 2020 Vision Tour: Your Life in Focus, there’s only one man,

TR: Yeh, yeh!

Oprah: but when it’s one of the most recognizable,

TR: Mm!

Oprah: big hearted,

TR: that’s real

Oprah: delightful, fun,

TR: Ha, ha!

Oprah: strong

TR: Hey!
people on the planet, he’s all you need. Please welcome Dwayne the Rock Johnson!
Audio: Record Scratch

TR: What the… Fine, who needs them, when I got the Reid My Mind Radio Family!

Audio: Reid My Mind Theme Music

TR:

2020 is Ableist AF!

— Music begins with a bass boom into a bouncing Hip Hop beat —

I’m talking about this idea of perfect vision, used as a metaphor for a flawless; plan or strategy, objective or goal and yes even sight.

Audio Samples…

So much of this is perception, which is subjective. Assigning the label of perfect to something automatically creates a ranking system or hierarchy.

It’s not surprising that so many people in 2019 and earlier, decided that 2020, the number associated with perfect vision, was an indication of a better time to come in their lives. The time to create or invoke that plan. Maybe get into shape, return to school, start that new career. Whatever it was, 2020 began with real optimism.

In my early days of adjusting to becoming Blind, I can recall declaring random days, months and year as my time. The right time to start fresh. To look at the future with real hope seeing only opportunity.

I too kicked off 2020 with this energy for very specific reasons. That includes personal opportunities that were presenting themselves. Nothing grandiose but some that I could eventually see as the early steps in building a solid foundation.

One of the themes of 2020 has to be adjusting. Reid My Mind Radio has been focusing on this for years.
Victoria Clare, an artist in the UK, helped me kick-off the year with her story of adjusting to Blindness or as they like to say, sight loss.

Audio: Bumper
— Audio clip from: “Adjusting to Vision Loss – A Creative Approach with Victoria Clare” begins —
VC:

I went out in my Dad’s shed, I got a big old’ block of wood, stole some of his chisels, used his mallet and started creating. It was amazing. I turned my world around because it made me realize alright, I’ve been diagnosed with this sight loss but nobody’s taken away the skills that I’ve always had. They’re still there.

— Audio clip ends —

Audio: Bumper

TR:

More on her latest artistic endeavor a little later!

February came around and I was feeling pretty good. I was swimming on a regular basis – which truly means a great deal to me. That itself is an access story for another time.

I also got the chance to introduce you to my man, Ajani AJ Murray! In his episode Starting with Imagination, we see that no matter the disability, the idea that begins with our thought or imagination can sometimes be delayed by access. Notice I said delayed, not halted or deferred.

— Audio clip from: “Ajani AJ Murray – Starting with Imagination” begins —

AJ:

I always had this dream of being an actor. It was something that was always looming in the back of my mind. It was always in my spirit, but I didn’t know how to physically make the connection. I couldn’t necessarily afford acting classes at the time and I wasn’t in high school at the time to be a part of an acting club.

That idea of working within your reach continued. In the episode Climbing Accessible Heights with Matthew Shifrin, Matt talked about his work with Lego and the objective of his advocacy to give that access to others.

Audio: Bumper

— Audio clip from: “Climbing Accessible Heights with Matthew Shifrin” begins —

MS:

I just wanted people to have this resource because I’d benefited so much from it. Not all Blind kids have people that could write instructions for them. Everyone deserves to be able to build and to learn from what they’ve build.

— Audio clip ends —

Audio: Bumper

TR:

Sharing our experiences with others is so important. Dr. Mona Minkara from Planes, Trains and Canes used the power of show not tell, to capture the wide range of responses to a Blind person traveling alone. And as we know, those reactions are filled with nuance.

— Audio clip from: “Taking A Ride with Planes Trains and Canes” begins —
[TR in conversation with MM:]

Wait up. You said he was nice?

MM:

I’m saying he was nice yes. (Laughing)

[TR in conversation with MM:]

Did you feel that way in the beginning? From the video, I took this guy like he was being condescending.

MM:

Oh, he was totally being condescending. I think it’s just the norm there to kind of treat people with disabilities like we are a bunch of 5 year olds.
— Audio clip ends —

TR:

Traveling is less about the destination than the journey. In the episode John Samuel: Guided By Angels, we see it’s about who you’re traveling with and what you do once you arrive!

Audio bumper
— Audio clip from “John Samuel: Guided By Angels” begins —

[TR in conversation with JS:]

And you just happen to be standing next to her. There’s such a pattern with you.

JS:

I know man; I can’t make this stuff up. I got angels all over the place.
— Audio clip ends —

TR:

While many people were progressing with their 2020 Vision plans, looming underneath it all was Covid 19. We were advised to take individual precautions; wash your hands, don’t touch your face, use hand sanitizer and somehow that translated to get as much toilet paper as you can!

I invited my wife Marlett on to compare what we experienced as a family adjusting to blindness and what the world was going through in the midst of the pandemic.

— Audio clip from: “A Peak at Finding A New Normal” begins —

Marlett:

Social distancing, that’s funny to me because no one really came around We understood about social distancing people were doing that to us for quite some time. Distancing themselves from us.

[TR in conversation with Marlett:]

Damn!

Marlett:

Well it’s true.
— Audio clip ends —

— Audio clip ends —

— Music ends —
TR:
If 2020’s perfect visual acuity has shown anything, it’s the inequity in our society.
Covid 19 zoomed in on the drastic differences in healthcare.

— Audio clip begins from “Corona – So Many Parts” —
Audio: Instrumental “Quiet Storm” Mobb Deep

Audio: Covid19 related News montage

– “The Pandemic seems to be disproportionally affecting people of color”
– “African Americans have been hardest hit by the virus. Despite accounting for 14 percent of Michigan’s population they represent 41 percent of its Covid victims.
— Audio clip ends —

TR:

In this same episode, Corona: So Many parts, I went on to compare the adaptations made in society in response to the Corona with those people with disabilities have been seeking for years.
— Audio clip from: “Corona – So Many parts” begins ”

All of a sudden!

Audio: Gazoo (from The Flintstones)

Have you noticed all of the corporations now accommodating their employees with work from home access?
The online conferences and entertainment now available.
Everything getting done online.

If inaccessibility is manmade then maybe man can fix it,
Audio: “That’s right!” from Harry Belafonte’s “Man is Smart Woman is Smarter”

TR:

Huh!

Audio: “That’s right!” from Harry Belafonte’s “Man is Smart Woman is Smarter”
— Audio clip ends —

TR:

Swindler, Scam artist, Liar, Snake oil peddler, Divider, yet in this past election, many have and continue to support him and his white house administration.
. Some of those supporters I’m sure have the absolute worst intentions. They are white nationalists. But there are some who have simply been played. And one of the rules that we need to remember is everyone gets got at some point in their lives.

I shared a story where I was duped into being a part of a dog and pony show disguised as a demonstration and discussion about Blindness.

— Audio clip from: “Live Inspiration Porn – I Got Duped” begins —
Well, in this particular case, while the dog and ponies sat up in front and this one off to the side a bit, the sighted donors were led into their temporary world of vision loss.

Reluctantly at first, one after the other each slowly began trying on the glasses.

“Oh my”…. “wow”
“where did you go Jeanie?”

And then the real fun began as they exchanged glasses with one another. Laughing as they realized how little they could actually see. Unable to find things they placed on the conference table. The host joking as she moved their cups of coffee.

Meanwhile, the dogs and ponies sat up front. While the jackasses continued with their disability experiment.

Empathy, I didn’t see that. But a check was written.

I don’t remember how the event finally ended, but I do know that was it for me. I checked out. There may have been some additional conversation but I doubt I had much to say to anyone after bearing witness to that display of ableism. I vowed to never be a part of anything even remotely like that.

I could easily imagine each of the donors around the table going home fulfilled and thinking “I should really count my blessings, because there’s always someone worse off in the world.”
— Audio clip ends —

— Audio clip from: “George W. Bush Fool Me Once” begins —

GWB: there’s an old saying in Tennessee, I know it’s in Texas probably in Tennessee but it says fool me once… (long pause) shame on…, shame on you. (long pause) Fool me can’t get fooled again!
— Audio clip ends —

TR:

You know, learn from your experiences

— Music begins – A bouncy energetic Hip Hop beat —
TR:

Hey! Do you enjoy listening to this podcast?
Do you have a topic you want to recommend?
Reach out.
email ReidMyMindRadio@gmail.com or call 570-798-7343 and leave a voice mail. Like this;

Voice Mail:

I’m calling because I listened to the Reid My Mind and I thought that episode on Charles Blackwell was just fantastic!

TR:
That was actually Mr. Blackwell himself playing a little joke on me. He said I could use it and I would either way because he doesn’t have a computer so he won’t find out!

If you do have a computer or a phone that is online and you want to stay updated to what’s happening here;
Subscribe wherever you get podcasts!
Transcripts & more are over at ReidMyMind.com.
That’s R to the E I D
(Audio: “D and that’s me in the place to be” Slick Rick)
Like my last name.

And now back to the episode

Audio Bumper:

“Come on chop chop, the Doctor will see you now!”

TR:

Well not really. But let me break down 20/20 as a fraction signifying normal vision.

The numerator, (the top number in the fraction), , represents – 20 feet. The denominator represents the distance in feet where a “normally” sighted person can see that same thing.

So, someone with 20/20 vision is seeing as expected.

A person with 20/200 can see from 20 feet away what a normally sighted person sees from 200 feet.

When it comes to an awareness of police brutality, Black people been having 20/20 vision. I’d add Indigenous and many people of color as well. I’d even add woke White people somewhere on the spectrum.

But too much of America has been hovering around that 20/200 acuity. They’ve been legally Blind to police brutality forever. There’s no lens to help them see the systematic racism not only in the police departments across this nation, but also throughout our society. At least not long enough to actually do something about it.

The Covid 19 pandemic created the environment enabling the magnification of the brutal killing of George Floyd, the murder of Brionna Taylor and the injustice that followed.

I wanted to be hopeful that the initial attention and outrage would be a catalyst for real change throughout society. I talked about how these events have and continue to impact me and my family. I even talked about it in the realm of Blindness advocacy!

— Audio clip from: “Let Me Hear You Say Black Lives Matter” begins —

TR:

All the organizations that are either of or for the blind want the same thing; independence, security opportunity for all Blind people. Who does this really include? For some, blindness skills training isn’t going to be enough to have an opportunity to reach that goal.

For me personally to believe these organizations and others are really about independence for all, I’m going to have to see them lead the way. That leadership needs to come from those in power right now.

I’m going to need to hear them simply say it; “Black Lives Matter”

Audio Montage of individuals saying “Black Lives Matter!” Concludes with all simultaneously saying it.
— Audio clip ends —

TR:

I’ve been thinking about these intersections and specifically about the experiences of Black disabled people no matter the disability.
So I teamed up with RMM Radio alumni AJ to co-produce and host Young Gifted Black & Disabled! Along with our guests, Rasheera Dobson and D’arcee Charington, we talked about all sorts of issues including the lack of Black disabled images in the media.

— Audio clip from “Young Gifted Black and Disabled” begins —

Rasheera:

I get a little sad. I never saw anyone like me. I never saw a girl with disabilities in Essence magazine. Struggling with low self-esteem growing up I think it had a lot to do with the fact that I was reading Essence magazine, Ebony magazine Jet magazine reading the stories of Toni Morrison and hearing the Black struggle but I never read about the disability struggle.

It Matters, it really does.
— Audio clips ends —

TR:

Yet D’arcee shared how there’s so much to be proud about.

— Audio clip from “Young Gifted Black and Disabled” begins —

D’Arcee:

I was just thinking of the Morpheus quote from The Matrix Reloaded, which I recently saw. When he was in Zion, when he was talking to everyone trying to calm them down and what he said is; what I remember most is after a century of struggle I remember that which matters most.

Audio from Matrix Reloaded: “We are still here!” Crowd roars in applause!

That resonates so deeply with who I am as a person.
— Audio clip ends —

— Audio clip from “Young Gifted Black and Disabled” begins —

AJ:

The full story of the black experience hasn’t been written yet.
There are plenty more chapters yet to be explored.
— Audio clip ends —

TR:

That exploration includes the experiences of people like Artist, Poet, Writer Mr. Charles Curtis Blackwell and his words of hope and inspiration.

— Audio clip from: “Charles Curtis Blackwell – Words of Meaning Empowerment & Inspiration” begins —

CC Blackwell:

I realized ok, God gave me this talent and with this talent he’s kind of helped raise me up from that bed of poor self-esteem. Lift me up and encouraged me and inspired me. And I have to take care of this talent. I have to nourish it, be kind to it, treat it right and try to use it.

— Audio clip ends —

Audio Bumper:
Uplifting music with a beat could work to close out from here.

TR:

With over 250,000 people lost from Covid in the US alone and millions affected, it’s hard to say anything good came out of the pandemic.

I did however have to acknowledge the accessible content coming from the team that brings you the Superfest Film Festival. Director of the Paul K. Longmore Institute on Disability
center Cathy kudlick talked about the types of films featured at Superfest.
— Audio clip begins from : “Superfest Disability Film festival: Going Above & Beyond”

Cathy:

“… we highlight what we think is disability 201 – films that share the creativity and the ingenuity or the unexpectedness or the intersections of disability with other kinds of identities.
— Audio clip ends —

TR:

Associate Director of the Longmore Center and Superfest Coordinator, Emily Beitikss talked about the festival’s commitment to access including Audio Description.

— Audio clip begin from: “Superfest Disability Film festival: Going Above & Beyond”
Emily:

So much of our work is working with these film makers to teach them, think about the problem and have tough conversations as we do it so that hopefully people are thinking about it in advance of making their films.

— Audio clip end —

TR:

Including AD as an ongoing topic of discussion fully aligns with the objective of this podcast. It’s never just about entertainment. Media isn’t just about entertainment. Access isn’t just about entertainment!

This year we featured a bit of a history lesson on Audio Description. Rick Boggs of Audio Eyes took us through the involvement of Blind people in AD from its inception.
— Audio clip from: “Viewing Audio Description History Through Audio Eyes with Rick Boggs” begins —

Rick:

What I’m proud to say about Audio Description is Audio description as created by Blind people. And every innovation and advancement in Audio Description that has really contributed to what it is now was made by Blind people.
— Audio clip ends —

TR:

We continued with IDC’s Director of Audio Description Eric Wickstrom on what makes quality AD
— Audio clip from: “Audio Description with IDC: Good Enough isn’t Good Enough!” begins —

Eric:

There’s too much good enough is good enough. For us and our standards at IDC, no we’re not striving for good we’re striving for great!
— Audio clip ends —

TR:
A big part of that great is in the writing. Head Writer Liz Guttman shared her passion for AD.
Liz
— Audio clip from: “Audio Description with IDC: Good Enough isn’t Good Enough!” begins —

Liz:

I go to work every day and I get to write, think hard about the best way, the most vivid and concise way to convey something that’s on screen. So that someone who’s listening to it will get the same feeling that I have watching it. And to help bring us all in to the same level. Especially since I have become more familiar with the Disabled and Blind and Low vision community. I have friends in that community now. I care about their experience.

— Audio clip ends —

TR:

In Flipping the Script on Audio Description, we expanded the conversation to be a bit more critical and inclusive of those involved in AD from varying perspectives.

Like Media Accessibility Provider, Alejandra Ospina

— Audio clip from: “Flipping the Script on Audio Description” begins —

Alejandra:

I do Close Captioning and I do transcription and I do translation and Audio Description and so I like to imagine the things I’m doing all sort of promote access to content. I don’t consider myself as often a content creator but I like to facilitate people getting to see or hear or know what they’re watching.
— Audio clip ends —

TR:

In the second installment we heard from four Voice Over artists also narrating AD. We talked a bit about the inequities and the importance of authentic voice representation. Inger Tudor well she just broke it down to the very last compound!

— Audio clip from: “Flipping the Script on Audio Description Part Two – Voice matters” begins —

TR:

I know some people hear this and say, why should it matter? Shouldn’t anyone with a suitable clear voice just be able to voice characters or narrate films no matter their race, ethnicity, gender etc.?

Inger:

Hold on a minute. Four hundred years, we haven’t had the opportunity to do a lot of stuff, take a seat for a moment because I guarantee you your seat for a moment will not end up being four hundred years. Then when we get to the place where everybody can do everything that’s fine, but we’re not there yet and we need to catch up so give us a minute, ok?

[TR in conversation with Inger:]

There it is!

— Music ends with a base drop that pulsates and slowly fades out.
— Audio clip ends —

TR:

We went outside of the US in the third installment. No real surprise, the guidelines used in Canada and the UK tend not to include race, color or ethnicity in Audio Description.

Fortunately, there’s people such as Rebecca Singh of Superior Description Services in Toronto who are changing that.

— Audio clip from: “Flipping the Script on Audio Description Part Three – Moving Beyond Just US” begins —

Rebecca:

I feel like I owe it to the listener and the listener is not necessarily a middle class cisgender white female or a male and sometimes I feel like from some of the teaching and reading and some of the history from what I’ve seen of Audio Description and words, it’s really taking one particular perspective. That is exclusionary and also not fair to people who are Black and Indigenous or people of color.
— Audio clip ends —

TR:

2020 doesn’t seem very fair.

The success achieved by other countries in their handling of this virus shows this pandemic, could have just been a thing! way too many lives lost that could have been prevented if we all spent a bit more time adjusting.

If only we learned from our past – you know 2020 hindsight? Oh wait!

Audio: 2020 Hindsight, Dilated peoples

Big shout out to all of the Reid My Mind Radio family. Whether you been rocking with me for just a few episodes or 100 plus!

One of our family members and alumni, Victoria Clare reached out during the pandemic to see if I’d be interested in collaborating with her on a song she was writing. She wanted to include a rap break and thought I could make it work. I said yes!
The song is available just about wherever you buy or stream music. It’s called By Any Means – it’s an upbeat dance track written to empower and inspire women who reach that point when they need to go inward and pull out that strength. I’ll link to the track on this episodes blog post.

If you like what’s been happening here on the podcast please pass it on. I know there’s a lot of people who would benefit from meeting others impacted by all degrees of blindness and disability.

Some have asked if there’s a way to financially contribute to the show.

If you are so inclined, you can donate via PayPal to ReidMyMindRadio@gmail.com.
All funds go to supporting the podcast.

Finally, I want to close this episode a bit differently in memory of someone I lost this year. A teacher of mine who said as a teacher he was there to quench our thirst but would eventually melt away. He was wrong! He ain’t going anywhere!

When we finished our conversations he’d say “May we remain” I think of that now like a little prayer.

Reid My Mind Radio Family, I wish you all a very joyous holiday season and great things in 2021!

May We Remain!!

Audio: Reid My Mind Outro

Peace!

Hide the transcript

Flipping the Script on Audio Description Part Three – Moving Beyond Just US

Wednesday, November 25th, 2020

I’ve had conversations where people have said, Blind users don’t want to know about race, they want it to be completely neutral.
– >Elaine Lillian Joseph

Today we’re going beyond the US border to hear from two international describers. Rebecca Singh of Superior Description Services in Canada. A square yellow logo reads Superior Description Services in black capitals under a black dot containing a sequence of vertical yellow lines.
And if that’s not international enough for you here in the states we have Elaine Lillian Joseph from the United Kingdom.

We hear a bit about their AD origin story or how they came to description, the importance of centering Blind people in the process and more on guidelines for describing race, color or ethnicity.

And by the way, who in the world is neutral? Just US? Hmm!

Maybe not the final episode in the Flipping the Script series, but it is the last of 2020!

Listen

Transcript

Show the transcript

Music Begins – A smooth, funky mid tempo Hip Hop beat

TR:

What’s good Reid My Mind Radio Family!

It’s me, your brother Thomas Reid. I hope you’re doing well.

Me? Why thank you for asking. I am doing well.

Today, we’re bringing you part three of the Flipping the Script on Audio Description series.

You know, this was never actually supposed to be a series. I originally planned for one episode but it was quickly evident that several people had something to share on the subject.

It got me thinking about Audio Description in two categories.
First, mainstream.

These are the writers and narrators creating AD for major television and film projects.

Then you have the independents – these consist of a varying degree of theater, live performance, museum and other sorts of description work.

Flipping the Script is all about promoting different voices, alternative views and Audio Description topics that are often overlooked.

As we’ve seen, this applies to both mainstream and independent.

I can’t say for sure this is the end of the Flipping the Script series but I can say it’s the last for 2020.

You know, just when I think I’m done with the topic…

Audio: “… they keep pulling me back in” Al Pacino in Godfather Part 3

Audio: “And here we go!” Slick Rick, A Children’s Story

Audio: Reid My Mind Radio Intro
Rebecca:

My name is Rebecca Singh I am an Audio Describer also a performer. I’m the owner of Superior Description Services which is an Audio Description service which consults with the Blind and partially sighted community one hundred percent of the time. I am a cisgender woman of color and I live in Toronto Canada with my young family.

[TR in conversation with Rebecca:]

How’d you get involved with Audio Description?

Rebecca:

I got involved with Audio Description through the theater actually. I have been a performer for a very long time and just over ten years ago I saw an audition posting for this thing I’d never really heard about, Audio Description and it was a class that I had to audition to get into. I got the part. Started training, that led to something of a building up of the industry here in Toronto.

— Music Begins – A dance track with a driving beat!

TR:

That’s right Y’all, in this third part of Flipping the Script on Audio Description we’re going international!

What’s that? Canada’s right there to the north? Ok, let’s cross the Atlantic.

Audio: Airplane in flight.

Elaine:

My name is Elaine Lillian Joseph. I’m from a city called Birmingham which is the second biggest city in the U.K. I’m a proud Birmie! I’m a Black woman. I’ve just got my hair done. I’ve got long light brown extensions with cane row on top. I’m wearing a floral long just below the knee length dress. I’m sitting in my friend’s bedroom because I’m currently quarantining with my friend’s family. I’ve been doing AD for just under two years. I work for ITV which is our second biggest channel after the BBC. I’m also a freelance Subtitler so I do subtitles for Hard of Hearing as well. A lot of accessibility going on.

TR:

Subtitling or what we know here in the states as Captioning was Elaine’s gateway to Audio Description.

A fan of film and television, she studied English and German in college — oh my bad, University

Elaine:

It always seemed like a natural thing to want to go into media. Finding out that there was this whole kind of world of accessibility and it’s not just, it’s not just transcription I guess. Not that there’s anything wrong with transcription but that you can be a bit creative with it. Doing subtitles for Hard of Hearing for example, doing a Horror film and working out how to describe the sound of of an alien creature and what words am I going to use to do that. It seemed like a natural transition from that to also thinking about how to describe things in general.

TR:

Prior to working at ITV, Elaine was Subtitling at another firm, BTI. it just so happened to be the employer of an influential colleague.,

Elaine:

Veronica Hicks, who kind of really kick started AD in the U.K., certainly. She used to sit directly behind me and she has this velvety plummy (chuckles) voice. I was sitting subtitling and thinking what is it that she does because it sounds fascinating.

TR:

Elaine asked around and learned more about Audio Description. Eventually she left BTI.

Elaine:

Everybody at my company knew that I really really wanted to do it. A position came up; they kind of said go for it! I tested and I got the job and I’ve been very very happy ever since.

TR:

Such an important thing to keep in mind — let people know you’re interested.

Today, Elaine has written AD for projects including a remake of Roswell. She’s been trained on narration so we can expect to hear her post pandemic. She also narrates live performances.

Elaine:

I usually do kind of Queer Cabaret events. There’s like dance, spoken word, lip syncing and things like that.

— Music ends with a drum solo

[TR in conversation with Rebecca:]

I’m wondering what was the experience from your other work that you brought to Audio Description?

Rebecca:

I liked my drama class in junior high and I decided this is the best thing ever. I made my way to a performing arts high school and got bitten by the performing bug and was doing at first some film and television. As it goes as a performer, the work opportunities change.

Instead of just sitting by the phone as they say, I shifted over to doing more theater work, clowning.

[TR in conversation with Rebecca:]

The whole get up, the makeup and everything? Or is that something different? (Chuckles)
Rebecca:

I think that’s a certain kind of clown. I was living in Montreal, like the city of Circ De’ Sole. It was a little bit more movement, physical theater based kind of stuff. The acrobatic storytelling with the body. I went to dance school for a while. So it was really more about expressing myself through the body.

[TR in conversation with Rebecca:]

Okay, so you’re not jumping out of cars with like fifty other clowns. (Laughs)

Rebecca:

No!

TR:

She’s a creative person who found herself doing more arts administration. After moving to Toronto she moved back into the performance space gaining even more of the experience she needed for Audio Description. That physical performance for example prepared her for her first AD assignment describing physical comedy. And the administration work was quite valuable as it gave her a community of people to talk to or a network.

Rebecca:

There were people that had already worked with me in a different context and so I understood their concerns, what their fears were as producers. Everything from being afraid of touch tours because you’re potentially bringing a service animal onto a stage before the show. Rehearsal schedules, the time and space actors need. The types of conversations that are appropriate to have with directors if you’re having discussions. When is a good time to approach a designer if you have some questions? All of those things really help to mitigate any hesitancy that producers had in terms of adding something new to their palette.

TR:

Elaine’s love of reading & creative writing adds value to her description. But that merging of creativity with Audio Description has it’s challenges.

Elaine:

It’s a service and I think it’s important to remember it’s a service. There can be ego (Chuckles) in any industry and sometimes I think people forget the user and what’s most important to the user.

TR:

Rebecca has her own way of assuring Blind consumers are always centered throughout her process.

Rebecca:

Paid Blind and partially sighted consultants. I get two different kinds of feedback. I learned a long time ago it’s definitely not a one size fits all in terms of description. I have a roster of consultants with different interests as well. I also try to match the interests of the consultant. Some people like Opera, some people like dance. All of their different expertise filters into my descriptions. And they ask those really deep and probing questions that I have to find answers to.

[TR in conversation with Rebecca:]

What kind of differences do you find between the Blind and partially sighted feedback that you get?

Rebecca:

One of the most striking differences is things like when I’m describing a set. With people who are partially sighted some people need to sit really really far up close and they want a different type of perspective in terms of what the set looks like. they may not be sitting in the same place. If they have a service animal they may be sitting further back in the theater. Maybe they’re closer to a speaker where that might cause some sound level things that need to be worked out. Sometimes light matters in a production, sometimes it doesn’t. Sometimes I’ll get feedback from Blind consultants saying things like I really appreciated the fact that you called this thing almond shape because I know what an almond feels like. I really developed a sense of what words work better and what words are more inclusive over time working with both Blind and partially sighted consultants especially if they’re working together with me on the same show.

That’s the other benefit of having multiple consultants is that they can learn from one another and I always have a chance to bring in somebody new and widen my pool.

TR:

Inclusive language reflects all sorts of identities.

Elaine:

I’ve had conversations with people before about things like race. It’s wonderful that we’re kind of having a moment where we’re really grappling with that. And I’ve had conversations where people have said, Blind users don’t want to know about race, they want it to be completely neutral. I find that a really interesting argument because I’m like what does neutral actually mean and who are we assuming is neutral?

[TR in conversation with Elaine:]

How do those conversations come up when writing description?

Elaine:

When I first started I remember asking questions like should I describe color? Should I describe that this rose is red or that this car is blue or whatever? And then moving from that I guess to should I describe race and the color of somebody’s skin?

So I’ll talk specifically about race rather than diversity I guess because there are other things that we can describe.

The industry standard was to not describe race unless it’s important to the plot.

TR:

By now, if you’ve been following this ongoing conversation on the podcast, you should be pretty familiar with this AD guideline.

As an example of the guideline, Elaine refers to a production of Hamlet

Elaine:

And Hamlet is Black. Then I should mention it. But that doesn’t mean I should mention the race of anybody else. We can assume that everybody else is white. I took that on board and then I kind of ignored it a little bit. (Laughs)

[TR in conversation with Elaine:]

(Laughs…)

Elaine:

Because I just found it really difficult. I was like, but why? (Laughs)

I found that I was working on shows where I just wanted to describe like the color of somebody’s skin.

[TR in conversation with Elaine:]

Why?

Elaine:

Why!

Because I thought, what’s it mean for it to be relevant to the plot. If there’s a conversation happening between sighted users and they’re saying oh did you notice how the policeman in whatever show it is is Black? I just kind of feel that means that as a Blind user you can’t be part of that conversation because someone’s decided that that Black policeman isn’t relevant to the plot so we’re not going to mention them. Also personally I know Blind users who I’m friend’s with who definitely wanted that information to be included because they’ve definitely felt like there are conversations that they can’t be part of because people are making these decisions.

TR:

Decisions being made on behalf of Blind people without our input. How does that make you feel?

Elaine:

Initially I wasn’t bold enough to say the Black man. I would describe the texture of his hair. So I would say the man with black afro textured hair. (Laughs) I think it should be fairly clear, but I still felt like I was kind of skirting around it.

[TR in conversation with Elaine:]

Would you get any pushback?

Elaine:

We definitely didn’t receive any pushback. When my manager kind of reached out to a community of Blind users then it was an overwhelming yes! (Chuckles) Please do include that.

[TR in conversation with Elaine:]

Okay. So you never got pushback from management.

Elaine:

No. My immediate manager was like a resounding yes! When I went into the kind of wider Audio Describer community that’s where I definitely felt pushback.

TR:

Like the time Elaine attended a conference where for the first time she heard a discussion of race and Audio Description included in the conversation.

Elaine:

There was a lot of why do we need to do this? What terms do we use? People not feeling comfortable saying the Black man – will the terms change. We might offend somebody, so it’s better if we don’t use any terms at all and just kind of ignore race. It felt uncomfortable for me being the only Black person in the room.

TR:

That’s uncomfort when people are either looking to you for the answer. Or one that I know I’ve experienced, giving the impression that you’re doing something wrong by raising the issue. (Oh well!)

Elaine:

Maybe it’s my British politeness kicking in but I found it very difficult to sit and listen to kind of put in my two pence. Imagine if a user is Black, maybe they do want to know about race (laughs… You never know!

[TR in conversation with Elaine:]

Yeh, absolutely

It’s just as important for a Blind consumer who is not Black to know that there are Black people on the screen y’all, like this is real.

Elaine:

Definitely.

[TR in conversation with Elaine:]

I’m wondering if there’s an age gap here too. Is this the old guard that we’re talking about here?

Elaine:

I guess so, yes.

I have much respect for them. I feel like I need to put that disclaimer out . (Chuckling)

I really do and I felt like almost a young usurper at that conference and in some of these conversations I’ve had. I get that they’ve been trained in a specific way. If we look at the breakdown of describers in the U.K. it’s white middle age women.

Audio: “To be or not to be. That is the question” From Hamlet, Royal Shakespeare Company

Music ends with beat in reverse!

Rebecca:

I feel like I owe it to the listener and the listener is not necessarily a middle class cisgender white female or a male and sometimes I feel like from some of the teaching and reading and some of the history from what I’ve seen of Audio Description and words, it’s really taking one particular perspective. That is exclusionary and also not fair to people who are Black and Indigenous or people of color.

TR:

In general, no matter what country, fairness, access, equity that should be the goal.

Rebecca, who thinks quite critically on this subject of inclusion presented at a conference in Europe.

Rebecca:

The Advanced Research Seminar on Audio Description.

I, over the last, I would say five years or so, have been really been honing in on the idea of creating the Canadian accent for Audio Description. We here have had a lot of influences from England and also from the states. We haven’t had our own Audio Description culture in Canada. So I went and was the first person to present from Canada and I talked about creating the Canadian accent and describing race gender, class and recognizing our bias.

[TR in conversation with Rebecca:]

And how was that received?

Rebecca:

people were very interested. I think that there’s not a practice of using consultants quite as much as we do here in North America and specifically what I do. The other thing that was really well received was the fact that I presented it in a way that did not require any description. I described all of the images. I tried to make the entire experience inclusive to a point where the person who was operating the CART, the real time captioning, didn’t have anything to write. That was all just part of the example of how we can be more inclusive.

TR:

The responsibility of making media inclusive and accessible includes the role of Audio Description.

Rebecca:

Everybody deserves the opportunity to see themselves in a story. We as people who are helping to tell a story have a responsibility to do everything that we can to not exclude people from seeing themselves.

TR:

So what exactly does that responsibility include?

Rebecca:

even as Describers we need to understand what our own bias is. I live in a very progressive city. And I live in a arts bubble inside that city. I try and check myself against that as well. I don’t want to use language that is so open that only a very small amount of people with very specific references will understand.

We need to have more conversations with consultants and also understanding what the history is and what the perspective is of people who are heavy users of Audio Description. We need to talk about it.

TR:

She’s talking about multiple conversations from all perspectives. Some times that just means raising the issue.

Rebecca:

It’s all of those little tiny actions that every person can do just to point out when things could be better perhaps or when things could be more inclusive.

Just being self-reflective about how we’re receiving information. I think many voices is much better as opposed to a government mandate or something like that.

Sometimes words aren’t enough.

TR:

But the words can inspire actions that lead to real change. Like getting film makers and broadcasters to include a bit more space to allow for Audio Description.

Ultimately, the change happens when our thought process becomes more inclusive.

Rebecca:

If the creator of the material no matter what it is, has the Blind and partially sighted community in mind as part of their audience from the beginning.

TR:

Having Blind people in mind translates to our access not being an afterthought. When it comes to Audio Description?, we need to be centered.
[TR in conversation with Rebecca:]

So the idea that there are sighted people enjoying Audio Description?, that’s cool, that’s really cool and I get it because hopefully that means there will be more of it, right?

Rebecca:
Yeh!

[TR in conversation with Rebecca:]

Do you see the potential for that to be a problem?

Rebecca:

I’m really in favor of Audio Description guidelines and standards being created for the needs and wants of the Blind and partially sighted community. Anyone who is putting something forward that they call Audio Description is aware of these guidelines and is providing something that is standardized. That said I think it’s also okay to create things that are not necessarily Audio Description?, but use techniques of Audio Description and as long as they’re not called Audio Description. I think more is better and so as long as it’s not called Audio Description when it doesn’t meet the standard, go for it!

TR:

From my understanding, there are conversations happening today exploring these guidelines.
I’m not sure what will end up being decided, but I do know that if these conversations do not include people of color in a real way, including decision makers, then we have to ask the question, why? Is it just fashionable right now to appear as though we’re addressing issues of diversity?

It’s a similar question I asked of all those in the Flipping the Script series;

[TR in conversation with Elaine:]

It’s a simple question, so feel free to answer (laughs) because I’m asking it!

Elaine:

(Laughs) I see I have no choice. (Laughs) Okay!

[TR in conversation with Elaine:]

(Laughing )No, but answer it anyway you want.

My question is why, why AD?

Elaine:

Oh! That’s a lovely question.

AD has brought me into contact with people that I probably would have never have met. In terms of the Queer drag community that I’m now part of and speaking to Blind users and Blind performers as well. I think that’s enriched my life and I hope that the descriptions I give in turn enrich their experience.

Last year I remember telling someone another sighted person, that I did AD. They just laughed and were like Blind people don’t watch TV. That was just like a whole education let’s just say for that person. (Chuckles)

I think it’s a really, really beautiful service and I think that it’s having a bit of a moment over here where people are certainly from the describer point of view, people are starting to think about how we can change it and engage even further with the community who uses it and that’s really, really exciting to be part of honestly. It’s so so fun! I honestly want to keep on doing this and developing my skills and my confidence and listening to people.

— Music begins – a chill piano leads into a smooth jazz chill Hip Hop beat

Rebecca:

I am a storyteller, I was born that way (chuckles). I think it’s really important to be able to tell your story in a way that everyone can hear it, receive it. I don’t think we have any excuses to ignore that anymore. We have technology to help us out. I want to see the amazing wonderful gifts that actually like Blind and partially sighted creators present having had access to some of this more popular culture. Some kind of performance art. So I think it’s important for everybody to have those opportunities. and I really feel like access to art is as important as access to sport. I think it’s part of what makes us human. And so everybody should have this access.

I just think it’s fair!

TR:

That’s Rebecca Singh, you can call her CEO of SDS or Superior Description Services where she centers Audio Description.
Rebecca:

Also known as described Video here. I do live description, image description, I produce podcasts with the Blind and partially sighted community in mind. Consultation to help with Universal Design. My Twitter handle is @SDSDescriptions.. I’m also on Face Book Superior Description and you can always check me out at SuperiorDescription.com.

TR:

Elaine Lillian Joseph is on Twitter @@elaineLJoseph.

I’d like to thank Elaine for putting up with my attempt to include the London slang in our conversation.

[TR in conversation with Elaine:]

Init! (Hysterical laugh)

Elaine:

(Laughs) Oh my days, you really love Top Boy don’t you?

[TR in conversation with Elaine:]

I do!

I get in to the whole street shows and all that type of thing so, I’m sorry! it’s Hip Hop I’m going to be in there!

Elaine:

Ah, that makes you (possibly says me) really happy! I love it, I love it!

[TR in conversation with Elaine:]

Yeh! (Laughs)

TR:

Big shout out to Rebecca and Elaine for all they do and for openly sharing their experience and opinions for the improvement of AD for all.

So let me welcome you to the Reid My Mind Radio Family!

Audio: Air horn!

I’m hoping you’ll hear them back on the podcast in the future.

While this is the last official episode of 2020, you know I usually do something for the holiday season. Right now at the time of this recording, I have no idea what that is, but I’m pretty sure I’ll put something together to wrap up this incredibly challenging year.

To be sure you get that episode;
Subscribe wherever you get podcasts!
Transcripts & more are over at ReidMyMind.com. And let me do a bit of Audio Description for you. That’s R to the E I D
(Audio: “D and that’s me in the place to be” Slick Rick)

— Music Ends

Like my last name.

Audio: Reid My Mind Outro

Peace!

Hide the transcript

Young Gifted Black & Disabled

Wednesday, October 7th, 2020

A white background with black silhouettes.  The text: Young Gifted Black descends while the font is increasing in size. the words are colored Red Black &Green respectively.  Centered on the next line reads & On the left is a man in a wheelchair, next is a blind man holding a white cane, in the middle is a woman with two crutches, next is a woman in a wheelchair, and last is a woman missing a leg with crutches. Below are the shadows of the silhouettes with "disabled" in bright golden letters hovering over it.

People with disabilities make up 20 to 25 percent of the population. It’s considered the largest minority. No so called race, ethnic group or age is excluded. Even within the extremely low representation in the media, Black people with disabilities are seldom seen.

This episode, a co-production with Ajani AJ Murray is our attempt to open this conversation.

Earlier this summer, AJ and I invited Author, Blogger Rasheera Dopson and Doctoral Student D’Arcee Charington to join us on a Zoom call to discuss the Black Disabled experience from their individual perspectives. The result, a non-apologetic discussion about representation in the media, acceptance in the Black community and Black Disabled pride… – “Young Gifted Black & Disabled”

For me personally, 2 out of 4 ain’t bad!

Shout out to AJ who’s also co-hosting this episode – a first for this podcast.

Salutes Chadwick Bozeman!

Listen

Resources

Transcript

Show the transcript

Audio: Scene from “Black Panther” “In Salute to Chadwick Bozeman

Black Panther:

I am not ready to be without you.

Black Panther’s Father:

A man who has not prepared his children for his own death has failed as a father. Have I ever failed you?

Black Panther:

Never.

TR:

What’s up Reid My Mind Radio Family. Greetings to anyone joining for the first time. My name is Thomas Reid your host & producer. Welcome to the podcast!

Well, when it comes to this particular episode, I’m only one half of the host and production team. You heard my co-host when he was here on the podcast earlier this year. In fact, I liked his opening so much, let’s run it back!

Audio: AJ Episode intro

Ajani AJ Murray:

Our friend that we have in common, Cheryl green, told me about you …

Music begins “Nautilus”

and I’ve been listening to your podcast and I love it! It’s so dope and fresh. I’m kind of a Geek so I watch like a lot of PBS and I listen to NPR and so it reminds me of like radio documentaries. I particularly enjoyed when you were talking to Leroy about the Black History especially from the disabled perspective. I did something like that on my Insta Gram and some of my friends were like keep it coming AJ. So now you’re a resource.

Ajani Jerard Murray, a lot of people call me AJ.

TR:

But first, uh, hit me with the intro!

Audio: Reid My Mind Radio Theme Music

TR:

AJ, welcome back my brother!

AJ:

Thanks for inviting me to be on the other side of the mic.

Why don’t we get right to it and I’ll introduce our guests.

Ladies first of course!

Audio: Ladies First, Queen Latifah

AJ:

My friend also living here in Atlanta Rasheera Dopson.

Rasheera:

Hi everyone! I’m really excited to be on this podcast with you guys today.

AJ:

And then we have another friend of mine from Washington DC, his name is D’Arcee.

D’Arcee:

D’Arcee Charington Neal. I currently live in Columbus Ohio. I am a second year Doctoral Student at the Ohio State University.

Music begins… “Young Gifted & Black” Donny Hathaway

TR:

What exactly do our guests have in common?

AJ:

They’re all Young Gifted, Black and Disabled!

Music Stops

Music Begins… Hip Hop Beat

Rasheera:

I am an author, Blogger, Disability Advocate. Owner of a nonprofit organization, The Dopson Foundation and the Beauty with a Twist Brand. two organizations dedicated to creating spaces of inclusion for women with disabilities. Being the founder of those two organizations that gives me a lot of space to be able to reach other minority women with disabilities.

AJ:

And D’Arcee

D’Arcee:

I am a second year Doctoral student at the Ohio State University and I do a lot of work at the intersection of Black identity and Disability specifically focusing through the lens of popular culture. A lot of my work has taken me working with major corporations, a bunch of nonprofits, some government agencies. Now I’m doing it for academia.

Rasheera:

So I was born with two rare diseases called Goldenhar Syndrome and the other one is called VADER Syndrome. Both of my syndromes have similar types of birth defects. One is considered a facial difference so when most people see me you notice that my face is asymmetrical. I was born without a right ear or right jaw bone. So I kind of fall in between the rare disease chronic illness and a disability intersectionality. .

I’m always real specific when I say that because you have a lot of people who have rare diseases who may not have a disability or you may have people with disabilities who don’t have chronic illness. So to say the least my childhood experience with disability was very complicated

TR:

That really is a good point. SO many people think disability and therefore unhealthy, sick. The two don’t necessarily always go hand in hand.

Rasheera:

I’m very grateful. I grew up in a single parent household with my mom. She was my fighter and advocate. The reason that I’m able to speak, to walk, to is because I had a lot of work done.

One out of twenty five thousand people have my condition. So really I didn’t meet another individual like myself until I was 25 years old.

A lot of moments of isolation and just kind of living on survival mode.

D’Arcee:

I just wanted to add, so I mean I saw you on video before all of this and I just think you’re absolutely gorgeous and never would have even thought about any of that.

Rasheera:

Ah,thank you! (Giggles)

D’Arcee:

I was like wait? What? I didn’t see none of that on camera, wait, … huh?

TR:

AJ:

D’Arcee has CP or Cerebral Palsy.

D’Arcee:

My parents are together They’ve been married for 35 years this year. Neither one of them really knew anything about disability or the idea of what to do with a disabled child. I didn’t get diagnosed until I was 2 because at 18 months I hadn’t gotten up off the floor yet and they were really concerned about it. When they took me to the doctor he diagnosed me with CP. My mother said she left the doctor’s office went outside sat on the curb and cried.

She was upset because she thought all her hopes and dreams of a child doing stuff was gone. (pause) Clearly she was wrong!

Music Ends…

Audio: “Message” … From Don’t Be A Menace While Drinking Juice in Da Hood

AJ:

The message is about false expectations inaccurate beliefs or misperceptions.

TR:

Most parent’s do the best they can with what they have. Older now, D’Arcee has taken the time to have conversations with his parents.

D’Arcee

And one of the things we talked about was Ableism. My parents were not familiar with the terminology. They were doing things that were progressive that they didn’t even know. I cooked, I cleaned. It wasn’t a question of like if you cooked but it was a question of like when are you going to. My bedroom was always on the second floor and we always lived in a house with steps and I never had one of them little contraptions that people be putting on the banister where you just sit in and it takes you up the step. Look that was a genie wish machine that I saw in movies and TV because if I wanted to get to my bedroom I had to crawl up the steps.

TR:

I’m sure that can be an uncomfortable image for some. What we see is so highly based on what we believe to be true. It reminds me of when people see me or another Blind person walking with our cane. For the unaware, it appears that the cane and therefore the person is crashing into things. What they don’t realize is that we’re independently accessing information in a way that works for us.

AJ:
Disability is complex.
For example, I need help with just about everything except, using a remote control.
Some people have more mobility than others. And that’s ok.

D’Arcee:

Inside the house there was no expectation for me to have to be anything other than who I was. When you leave the door, the bar of expectation just goes so low.

My parents never talked about the difference. They didn’t prepare me for the Ableism that was going to come in middle school, in high school in college and looking for a job. I had to find all of that out by hand.

TR:

Rasheera also shared some reflections on how she too wasn’t prepared for what was to come in the real world.

Rasheera:

I felt like I wasn’t properly prepared to be a disabled woman. In my household I was just Sheera and we goin’ treat Sheera like everybody else. Then when I got to school I’m thinking I’m a Black woman and people are looking at me like, hmm you’re a Disabled Black woman and there’s a difference. I felt like I had to learn the hard way. I’m 29 and I’m finally starting to get this thing. And it has nothing to do with you it has really everything to do with the system that was created not for people like you.

D’Arcee:

People just assume that if you say the word disability it immediately translates to less than, without them knowing anything about symptoms or anything. People are just immediately like ok, well clearly you’re special needs, clearly you belong in the class with other people with intellectual disabilities. Not to say that’s any better or worse, but it’s a different type of class and it’s a complete segregation from regular education.

AJ:

Societies low expectations come in different forms.

D’Arcee:

I lived in an all-white neighborhood in North Carolina so people would just come up to you and be like “oh, oh my God, where were you shot?” … was the number one question I would get from like the age of 9 through like 17 because people just equate and this is a really specific experience for wheel chair users only because the narrative that people have of chair users and Black people is criminality.

TR:

D’Arcee went on to site shows like Oz & Cops which help spread that narrative.

AJ:

I feel like if we took a few more minutes we’d come up with some other examples from film and television.

TR:

We began the conversation by asking each of our guests to share the specific type of media they consumed growing up.

AJ:

First up, Rasheera.

Rasheera:

I’m a writer! So when I was in elementary school I thought I was going to be the next Toni Morrison. You could not tell me that…

The rest of the panel jumps in with positive encouragement. “You still can be” You’re still young” “Hold up”

AJ:

Black love is not just about romantic love, it’s also lifting one another in support.

TR:

Facts!

Rasheera:

She didn’t publish her first book until she was 40 and I’m 29 and I just published my first so it’s still Goal!

I grew up in a predominantly white school. My sister and I were really the only two Black kids in the entire school so it wasn’t until 11th grade in high school that I actually got exposed to African American literature. The Toni Morrison’s, Alice Walker’s , The Zora Neal Hurston. I’m just like oh, these people sound just like me!

TR:

That’s connecting with the voices of Black women authors.

AJ:

The full story of the black experience hasn’t been written yet.
There are plenty more chapters yet to be explored.

Rasheera:

As I’ve gotten older, even though I look to those mediums and those platforms such as the books and even Essence magazine being a girl and looking through all the pages and the different fashion things, I get a little sad. I never saw anyone like me. I never saw a girl with disabilities in Essence magazine. Struggling with low self-esteem growing up I think it had a lot to do with the fact that I was reading Essence magazine, Ebony magazine Jet magazine reading the stories of Toni Morrison and hearing the Black struggle but I never read about the disability struggle.

It Matters, it really does.

D’Arcee

My family is a movie family. We have been addicted to films. I can vividly recall as an 8, 9 year old spending many an hour re-alphabetizing my mom’s thousand VHS tape collection. No lie and each tape had like five movies on it. We loved movies growing up . My mom was really into horror films which is hilarious because she’s super religious. She’s an Evangelist now.

Music… church organ

D’Arcee:

It’s one thing to not see yourself. It’s another thing to not be thought of.

These days when I watch TV and Netflix and stuff I see disability. I see it quite a lot, but I feel like there are disabilities that are sexy. I don’t even mean attractive, I mean that there hot in the media because people find it to be easy to access and it works really good for a story plot. So if I had to pick one that would be Autism.

TR:

Let’s be very clear, because you know how things get misconstrued, in no way is D’Arcee or your hosts in support of pitting disabilities against one another. This isn’t about any sort of perceived hierarchy within the disability community.

AJ:
This is about disability representation in the media. And it really is true, representation matters!
Right now Autism has the spotlight in the media.

D’Arcee:

It’s super popular right now. You see white Autistics everywhere. When I was growing up we were watching movies it was so funny because anytime you would see a Black person like and I mean any time you would see Black people that were like off to the side or just like a spec person we would get so excited.

[
Blade, was my shit!

AJ:

Another question for the panel was to recall their first time seeing disability represented in the media.

TR:

Says below with live version…

TR in conversation with panelists:

And specifically Black disability.
,
Panelists: long pause… Delay… breaths…

Rasheera:

Man, … (laughs)

D’Arcee:

I gotta think about it! Um!

AJ:

Um!

Rasheera:

I think when I read about Haben Girma. The Deaf Blind lawyer.

D’Arcee:

Haben (correcting pronunciation), that’s my friend Haben. Haben Girma, yeh!

Rasheera:

That says a lot because it’s present day.

D’Arcee:

Yeh, right, that’s like last year.

Group: Wow… laughs

Rasheera:

Um, so no!

Rasheera:

I could count on my hand and I even use my whole hand for how many Black disable people I’ve met.

D’Arcee

I mean I know quite a few, like in real life.

[TR in conversation with D’Arcee:]

As a child did you know them?

D’Arcee:

As a … no, no!

My friend Angel was the first Black Disabled person, this is going to sound terrible but, the first Black Disabled person that was actually doing shit!

AJ:

Does that sound terrible to you?

TR:

I think it’s about people who have aspirations and goals. Many people I’ve spoken to for the podcast have said to me, I was looking for or I found, you know, the cool Blind people. I don’t think it’s specific to the goal or level of education, , but rather it’s about someone striving to accomplish something.

D’Arcee:

I had gotten an internship at NASA.

NASA forgot that they hired disabled folk, three of us. They forgot that we needed housing and they put everybody else in an apartment complex that was like 20 miles away and it didn’t have any accessible rooms so the University of Maryland had to come through at the last minute and give us some dorm rooms to live in and Angel just happened to be my next door neighbor. I saw her and I was like wait a minute, Black Disabled woman and then she was like yeh, I’m a Doctoral student and I’m finishing my PhD in Gender and Women Studies.
Wow! It was so beyond what I even thought was possible. And that sounds so terrible.

AJ:

What’s terrible is that even in 2020 we’re struggling to think of Black Disabled people in the media.

D’Arcee:

I know lots of Black folk but I can’t think of any with an actual disability that’s been … I’m sorry Denzel Washington, The Bone Collector. Which is the only one I can think of off the top of my head.

AJ in Conversation with Panel:

I don’t know if anyone would remember the show “Malcolm in the Middle”. He had a friend, I don’t remember what his disability was but he was in a chair and he was kind of an A-hole. That was the first person that I can remember that was Black and Disabled.

Rasheera:

You know, now that you mention that AJ, I thought about Jimmy from Degrassi. And I guess he didn’t really come to mind because the first two seasons Jimmy wasn’t in a wheelchair, but I guess the third season didn’t he get shot or something.

D’Arcee:

Yeh, he got shot!

AJ:

I knew someone would come up with an example of this trope.

TR:

And that’s a Canadian show isn’t it?
TR:

These tropes aren’t limited to the US.

AJ:
TR:

Also, I’m pretty certain in all of the examples mentioned, they weren’t played by a person with an actual disability.

AJ in conversation with panel:

It seems like we can’t get any real stories about real people with disabilities in movies, but if you’re an able body actor and you play somebody with a disability you may get an Oscar.

D’Arcee:

I would be remised if I didn’t at least bring up the fact that Netflix does seem to be trying to do it. I’m trying to be generous.
So I love the show Sex Education. I think it is one of the best shows to come out in a long time. It’s a comedy, a British comedy. In season two they introduce a character with a disability. So the actor himself is actually disabled which I thought was great.
TR :

But!

AJ

Wait for it!

D’Arcee:

Unfortunately he wasn’t Black so I can’t get everything that I want.

AJ:

D’Arcee mentioned Blade earlier. Not a movie that I think most people associate with disability.

TR:

I know I didn’t but, when he broke it down!

First, the ADA defines a person with a disability as a person who has a physical or mental impairment that substantially limits one or more major life activity.

D’Arcee:

He’s a half vampire half human being. He basically has some weird combination of Sickle Cell and an auto immune disorder. I see it as a rare disease. He was working with huh, wait for it, a Black woman who was also a Phlebotomist. She develops an immuno therapy that he inhales via an inhaler that allows him to function.

TR:

I told you, when he breaks it down for you!

D’Arcee:

It affected me so deeply. I saw that movie and I was just like this is a disabled Black dude who is a super hero who is saving people and he’s Black A F with his Barber who makes his weapons with his Camaro car with the high rims. It was a marriage of like blackness and disability unlike anything I’d ever seen before.

Black Disabled people have already been there but they’re not being discussed that way. Storm is a Black Disabled woman. If she were a real person she has the same chromosomal disorder as a person with Down Syndrome. She just shoots lightning bolts out her eyes. She would be covered under the ADA. Technically.

AJ:

Do you think Wesley ever thought about the character in that way?

TR:

I doubt it, but I’m going to re-examine Nino Brown.
TR:

AJ:

Shout out New Jack City!

What up Pookie!

D’Arcee:

I thought it was brilliant but people don’t give Wesley Snipes props. People keep thinking that Dead Pool was the first rated R comic book movie, it’s not! That belongs to Blade.

Audio From Blade:
Blade: You people better wake up!

Rasheera:

Even the new Harriet Tubman movie, come on people didn’t give credence to the fact that she was a Disabled woman. Okay, she was spiritual and she had visions, but she had probably a form of Epilepsy…

D’Arcee:

She definitely did.

Rasheera:

that caused her to have seizures. That is a disability and the fact that she freed thousands of slaves, I was like give that woman her props as a Disabled Black woman.

Audio: Martin Lawrence in standup performance.

“Handicapped people have good parking spaces… (fades)

Rasheera:

It was some time last year , Martin Lawrence, he had put an old clip of him doing standup comedy. Of course he was playing somebody who had some developmental delays. He had the arm twisted and was doing the things like he was making fun of a person. He had thousands of comments on there. This is the issue I have with the Black community, we still endorse people who have created content that sheds a negative light on people with disabilities.

TR:

Rasheera gave an example of how there seems to be more push back from the white community towards those felt to be disrespectful…

AJ:

It’s one thing to have a comedian, for example, perform and perpetuate a negative image. It’s another level of pain or hurt that comes from the general public who argues for that sort of content.

Rasheera:

When I point it out… This lady she commented, she was like you guys are too sensitive. I was like you know, no we’re not too sensitive we understand that was like the early 90’s so you know people just didn’t know or did they care? We really have to go back and say you know that wasn’t okay that you made a whole stand up production making fun of a person with a developmental disability and we still laugh at that. It’s not cool!

AJ:

Too sensitive?

Not really when you consider history and experience.

Rasheera:

Whenever we have a person in our family who’s “Disabled” you know, we’ll call him slow or special. That’s Uncle Ray Ray we keep him in the back corner and we won’t tell the family that he exists.

Historically when we’re dealing with certain levels of pain and trauma we do use things such as comedy and music to provide relief to that. I don’t know if it’s justifiable but I do think it needs to be brought to the surface like okay maybe we do need to peel back why is it that we still think it’s okay to hide our relatives with disabilities. Why is it still like such a level of shame in our community when it comes to disability?

D’Arcee:

This is what my work centers on in academia – what I am trying to coin Afro Fantasm. This idea that Black Disabled people within the Black community exists as living ghosts. We exist and folks know we exist, they do not acknowledge the disabled part of the identity as opposed to the Black part. I had someone recently tell me, one of my friends recently tell me; well disability isn’t race. He said I just think you’re making something out of nothing and you’re creating something that does not exist. I said it most certainly is.

AJ:

How do you think that would make you feel?

TR:
If necessary, make the larger identity relevant to you.

D’Arcee:

Why do you seem to think that just because Black people are disabled we don’t need to do things culturally that still read as Black? All my disabled female friends they constantly complain about how nail salons are not accessible. As a wheelchair user I still need to go to the Locktician to do my Dred’s. Me being in a wheelchair does not stop me from having to do that because as a Black person I don’t want to look busted! Or ashy or like any ‘ol kind of way because that’s already assumed that’s how we’re going to look anyway when we come out of the house.

Music… Let the Church Say Amen

D’Arcee:

Church is the center piece of African American identity and yet I don’t know of most Black churches that will use interpreters. They don’t bring cart services, they don’t provide hymns in Braille. It is not a conception that even crosses into people’s minds and so therefore I call it Afro Fantasm. You exist but only in the barest spectral sense to other Black people

Audio: Scene from “Blackish”
Takes place in a Black Church. The pastor speaking from the pulpit.

We will now offer prayers for our community. Everybody knows somebody broke into Shante’s car and stole her last good hearing aid. Shante we’re all praying for you. Pause, Pause… Shante, (spoken slowly and deliberately) we are all praying for you. Ahuh, ahuh! Church agrees!

TR:

CART services is an acronym for Computer Assisted Real Time Translation.

AJ:

Real time captioning.

D’Arcee:

if we actually were to go beyond that and to start looking at the actual physical embodiment of disability, folks shut down.

Rasheera you were saying why does the Black community continue to laugh at Martin Lawrence’s jokes? So the answer as horrible as it is but it’s the truth, people can come on my Twitter and check me if they want to, you don’t see us as people. Bottom line point blank period with a t, we are not people in your minds. We are uh huh, interestingly enough, three fifths of a person.

Music Ends with a low base and then bass fades out

Rasheera:

When you call them on that point it’s just like oh well you’re taking away from the Black cause.

How am I taking away from the Black cause when really all I’m trying to show you is the full spectrum of the Black narrative.

AJ in conversation with panel:

This is a part of my Black experience. I wonder and I’m just putting this out there, I’m not saying this is concrete, but I wonder if it has a lot to do with the fact that disability is something that needs to be healed.

D’Arcee:

Absolutely. You don’t want to say its physical I will.
TR:

In case anyone is getting this twisted and thinks a pass is being given to others and saying Black people are more Ablest?

D’Arcee:

That is not what we’re doing.

What I need to specify is that while it is true that the Black community often does not do things to support people with disabilities. The flip side of that coin is that it’s because of systemic racism that we can’t. Most of the time. I will say yes it happens sometimes, yeh there are assholes everywhere, but the reality is I firmly believe that Black people are not out here (laughs) being villains to Disabled people on purpose.

TR:

Systemic racism in the form of redlining for example.

AJ:

Too often small business owners of color are unable to access capital to afford retrofitting existing buildings to make them accessible.

D’Arcee:

I will say that yes, while I go to Barber Shops and you see steps and I’ll be like Lord Jesus, the flip side of that is the people in there have always helped me. They will stop cutting hair to come outside to do what they have to do so I can get into the shop.

TR:

Black Love?

AJ:

Black Love!

But we definitely shouldn’t have to do all that!

Rasheera:

[
We just haven’t had the bandwidth within our community without the barriers of systemic oppression to allow us to have acceptance for everybody.
]
So if you guys make stuff more accessible, and wealth is equally distributed in our community, half these conversations we wouldn’t even be having.

AJ:

I had to ask our panelists how do they see Black Disability moving into the mainstream?

D’Arcee:

Somebody needs to sit Shonda Rhimes and Kenya Barris down and say you’ve done a lot for Black people but now you need to purposely put Disabled folks in big ways. And that’s only part of the issue because quite frankly the other part of the issue is that there aren’t enough actors. If Kenya Barris and Shonda Rhimes create a show and they want to put a Black Disabled person front and center, if they want them to be the next Olivia Pope they have to be ready to take it.

AJ:

Is the question about the number or the level of experience?

D’Arcee:

I love Peter Dinklage, oh my God he’s fabulous. But he is the only one. These acting studios need to stop trippin’ and they need to let people with disabilities straight up in because that’s the only way. I want a wheelchair using peter Dinklage. I want a person in a wheelchair who is respected.

Rasheera:

That’s one of the reasons why I decided I want to go into Public Health. At the end of the day we can talk about how the spaces are needed, but actually we need more people with disabilities to occupy those spaces.

Music begins, Young Gifted & Black, Donny Hathaway

When you get to the very core of it, we have to begin to empower the disability community. Letting them know, you can go to college. You can get a Master’s degree. You can go into any career field that you want and maybe we have to find ways to strategize so you can get the type of accommodation.

Music morphs into a Remix of Young Gifted & Black… Young Gifted Black & Disabled!

AJ:

We need more opportunities. The wealth of talent is there. You just have to want to see it.

Rasheera:

Empower disable people, especially disabled Black people.

Before I ever knew I was disabled I knew I was Black first. I was very fortunate that my family raised me to know everything about my people. We weren’t just descendants from slaves.

I identify as a Disabled person, a woman and a Black woman at that. I take a lot of pride in that. Even somedays when its hard and I’m just like man, I’m the only one in the room.

It’s a lot of pressure, but it’s also a place of fulfillment and joy where you’re able to pull from those different life experiences.

D’Arcee:

I was just thinking of the Morpheus quote from The Matrix Reloaded, which I recently saw. When he was in Zion, when he was talking to everyone trying to calm them down and what he said is; what I remember most is after a century of struggle I remember that which matters most.

Audio from Matrix Reloaded: “We are still here!” Crowd roars in applause!

That resonates so deeply with who I am as a person.

The more I learn about Disabled History and the more I learn about Black history and how they intersect, it just makes me even prouder to be the type of person that I am and to be able to do what I do.

I am the only wheelchair user in the graduate department of several hundred students. I’m in the number one school for English in the United States. I have a complete full ride for this degree, they paid me to come there.

TR:

He’s not flexin’ on y’all!

D’Arcee:

It’s a question of knowing your worth. When it comes to Black Disabled people, we exist in this space that people think of as double deficit. You start off from a negative place. As a Black Disabled person you are the bottom of the bottom, if you believe that you are.

I think the only way that people don’t fall into the trap is by having a support system of people who are constantly telling you that this is not true.

AJ:

That support system can be your family, friends but I think what I heard here today is the overall community can step it up.

TR:

Shout out to Rasheera who you can find on …

Rasheera:

Insta Gram, Twitter, Facebook, Linked In – just type in Rasheera Dopson. R A S H E E R A Or Beauty with a twist.

TR:

And D’Arcee!

D’Arcee:

My Twitter handle is DRChairington. Charington but spelled like a chair, as I’m a wheelchair user. Oh, it’s Dr. Chairington, I’ll take that too!

TR:

It’s official, you both are part of the Reid My Mind Radio Family!

Brother AJ, you already know, you ‘ve been down with the Rmm family for a minute.

Thanks for co-hosting & producing this episode with me.

AJ:

Thanks Tom, let’s do it again!

TR:

I’m not sure what I can let out but AJ’s always doing something, you know Acting up somewhere! He’s @GotNextAJ on Twitter and Ajani AJ Murray everywhere else.

What do you think about the format, the topic anything?
Let me know at ReidMyMindRadio@gmail.com or on Twitter @tsreid.

When it comes to the Black Disability experience, there’s so much more to talk about. I think you can expect more right here on Reid My Mind Radio. Sounds like something you don’t want to miss out on?
Subscribe wherever you get podcasts!
Remember transcripts & more are over at ReidMyMind.com. And yes, that’s R to the E I D
(Audio: “D and that’s me in the place to be” Slick Rick)

Like my last name.

Audio: Reid My Mind Outro

Peace!

AJ: Laughs!

Hide the transcript

Flipping the Script on Audio Description

Wednesday, September 16th, 2020

When it comes to Audio Description, are we listening between the lines? There’s so much more to AD than what we hear. So, today on the podcast, we’re going to expand who we actually hear from on the topic. There are the “experts” but there are plenty more with something really valuable to contribute. Like, Alejandra Ospina, Liz Thomson & Chanelle Carson who share their expertise on the subject.
Sometimes you just have to Flip the Script to hear what’s on the other side!

Plus I’ll introduce you to someone from the other side who I’ve been turning to when I need a bit of help! Or maybe I really do just need some help!

Listen

Resources

Alejandra Ospina
Disability Visibility: First Person Stories From the 21st Century

Transcript

Show the transcript


Sound of Vocal booth closing.

TR:

Geez, this idea of trying to open the podcast with something different or catchy is just starting to get to be too much.

If only I had help. If only I had help, If only I …

Sound of Dream Harp!

The Great Kazoo:

(Yawning!) You called?

TR in dream sequence:

Yes, oh great Kazoo. Didn’t you hear me calling you?

The Great Kazoo:

When? Of course not I’ve been sleeping.

TR:

Bruh! Isn’t that your job. To be there to look out for a brother.

The Great Kazoo:

My dear fellow, I’m not only undependable, but I’m a bit of a Kook… That’s why I’m hear remember I’m being punished.

TR:

Really, punished? You act like I call you that often. It’s been a minute since I actually needed your help Bruh. Plus I looked out for you that last time. I sent a very nice email to your supervisor.

The Great Kazoo:

Why don’t you try counting on yourself.

TR:

Oh, it’s like that son? Aight, forget you. I’ll just do the regular intro myself with you, nahmean!

Drop the beat!

Music begins with a Hip Hop Kick drum & bass.

What’s up Reid My Mind Radio Family! My name is Thomas Reid. I’m the host and producer of this podcast featuring compelling people impacted by all degrees of blindness and disability. I should clarify that a bit because I think it may get lost. People impacted by all degrees of blindness and disability? This includes all those experiencing disability directly. A person new to blindness for example. But it also includes their family members and friends. The teachers of the visually impaired, O&M & Rehab instructors who teach the white cane for example or other daily living skills. There are also those in supporting industries from technology, accessibility & of course Audio Description. I consider all of this to be summarized by impacted by all degrees of blindness and disability. For the record, I think our entire society is all impacted by disability, but we don’t all happen to realize that or even feel that way. But don’t worry y’all eventually they’ll catch up with us. That’s on them. So let us just keep doing our thing!

The Great Kazoo:

(Yawning) Oh look, I don’t wish to stay here forever. And since I am supposed to serve you I will try. But take heed, don’t ask for more than you can handle, you may get it.

Sound of reversing Dream Harp…

TR:

Maybe I don’t need help. I think I have an idea after all.

The Great Kazoo:

(Yawning…) Well, see you tomorrow. Maybe. Laughs. Sound effects signaling his disappearance.)

Audio: Reid My Mind Theme Music

TR:

Today I’m bringing you excerpts of some conversations I had over the past few months with multiple Audio Describers. Specifically writers and narrators, each bringing their own perspective and background.

AD is still new. There’s no one “right” way. With there being so much more to Audio Description than what we hear, it’s past time we hear from a more inclusive set of people involved in the process.

So, this is the first in a series I’m calling Flipping the Script on Audio Description. You know, sometimes you just need to hear from another side.

Now let me introduce you to my guests.

Alejandra:
My name is Alejandra (American English accented) or Alejandra Ospina depending on your audience.

TR:

That’s what I’m saying! The Reid My Mind Radio Family like our world is diverse. And that’s how we roll!

(Music begins)

Alejandra:

My business cards have a long list of things, but I like to consolidate it into what I’m calling a Media Accessibility Provider. I do Close Captioning and I do transcription and I do translation and Audio Description and so I like to imagine the things I’m doing all sort of promote access to content. I don’t consider myself as often a content creator but I like to facilitate people getting to see or hear or know what they’re watching.

TR:

That makes me think Alejandra’s introduction to media access is personal.

Alejandra:

Having close friends and chosen family members that are visually impaired and I’ve spent a lot of time describing things for them so it sort of was a natural progression.

Related sort of anecdotally growing up as the primary English speaker in a Spanish speaking family I spent a lot of time explaining things to so the concept of explaining comes naturally to me.

TR:

That sort of hits home for me. My mom played that role for much of her family. One thing I know is that can be a great way to develop an advocate’s spirit.

Alejandra:

I was one of those folks that got on my high horse which isn’t very high, about having people on social media describe images and photos that they post. So I spent a lot of time in the last five years gently shaming or encouraging people to describe the things they post on social media and over time that has caught the attention of folks in disability community and communities of people that are doing this kind of work. And it was sort of a natural progression.

TR:

Next, one of the first Describers to provide a visual description of themselves. This prompted me to not only begin asking other describers to do the same but really to think about incorporating that going forward with all interviews.

Here’s Liz Thomson, who is currently pursuing a Doctorate degree in Disability Studies.

Liz:

(Spelling her name)
Liz Thomson. I would visually describe myself as a dark skin 5 foot 2 person with black eyes and black rimmed glasses. Currently I have a mostly shaved head with a band of 2 inch short black hair. I identify as someone who is disabled, also bisexual and queer. A Vietnamese adoptee. Mostly grown up and worked in the mid-west. I use they, them they’re pronouns.

TR:

you can say Liz had a fast tracked introduction to AD. Learning of it and experience it all in the same evening.

Liz:

One of my good friends who is Low Vision, he invited me to go to a Disability Cultural Program. At the very beginning of the program they ask if anyone needed headsets for Audio Description. He’s used to that and I think he typically takes advantage of that accommodation, but I had never heard of that. And so I was like hey you know I’ll try it out. So I got my headset. I believe this was kind of like an open mic performance.

TR:

It included things like poetry, dance or movement and other artistic expression. probably not the most traditional first experience with Audio Description.

Liz:

So that really got me hooked!

Chanelle:

My name is Chanelle Carson. I am a Freelance Audio Describer out of Las Vegas, Nevada. I’m also the Senior Audio Describer at the Smith Center for the Performing Arts in downtown Las Vegas.

I’ve been working with the Smith Center for actually 8 years now. About 4, 5 years ago actually, during one of our pre shifts they just asked if anyone was interested in learning how to do Audio Description.

At the time I was 22 just out of college. I had been studying film with a focus on screen writing, I was thinking oh, this sounds like it’s right up my alley. I’m a writer and at the time I was very interested in learning how to do voice acting.

Didn’t hear anything for a few months then they sent me and another woman off to get trained at Joel Snyder’s Audio Description seminar.

[TR in conversation with Chanelle:]

Was it kind of hard to take what you learned and go right into the live stuff?

Chanelle:

Oh yeh! It was extremely difficult going from the training to doing live theater because the training was so heavily focused on TV and film that sure the basic stuff like;
Don’t talk over the dialog, Blind people aren’t idiots – don’t worry about being too tender or politically correct with your description. What you see you describe.

Of course with TV and film when you’re doing description for that you have the lovely pause button. You don’t necessarily have that for live theater.

(Music ends!)

You can’t go hey guys I screwed up can we go back. (Laughs along with TR) So it’s very much having to learn how to do things on the fly.

TR:

Like Chanelle, Liz too completed the ACB AD Training. Similarly, the application was less about TV and film.

Liz:

I’ve done photography ever since I was in middle school. I did photo journalism at my high school newspaper, in college. As a photo journalist I was realizing I wasn’t adding Alt Text. I wasn’t adding description in my captions to make it kind of more integrated. I would add a caption but I wouldn’t add that photo description.

TR:
Today, Liz can take up to 25 minutes crafting an image description when preparing to upload.

Liz:

Sometimes people are like how can you do that? Do the in their eyes the extra time and labor to do the Audio Description. My response now is how can you afford to not.

TR:

Even if you put aside making the world a more accessible place for all (boring!) there are some real benefits:

Liz:

It makes me look at my images more closely. It makes me reflect a lot more on images that I shot.

TR:

That reflection could lead to a better understanding beyond the pixels. Photography biases for example.
Liz:

Not taking images of people with disabilities. Taking more images of cisgender men.

TR:

It’s not just about description – Liz is thoughtful about phrasing.

Liz:

Language is also fluid and socially constructed and also has different meanings over generations and time. Like modern and traditional. Well that means something very different now than it did in 1940.

My first draft will be one way and then I’ll look at it later on in the day and then I’ll change it. If I say something like traditional, then I have to ask myself well what do I mean and also what did I really see.

It’s about writing and saying what you saw.

(Music begins)

Alejandra:

In addition to learning the sort of standard ways that one is meant to do Audio Description for video for things like Netflix and Amazon, I’ve also been thrown into the world of how do you break that open and describe differently in ways that are actually respecting the culture, respecting the art. becoming part of the art and not just being tacked on after the fact because somebody does not want to get in trouble for not providing access.

TR:

I find it very empowering to see a lot of that pushing of the boundaries around Audio Description coming from the disability community.

It’s no surprise that Alejandra has worked with Alice Sheppard and laurel Lawson who we featured here on the podcast. All sharing this way of looking at Audio Description as more than an access accommodation.

Alejandra:

I don’t have a specific background in writing, but I have a specific background in wanting to be right!
[TR in conversation with Alejandra:]

Hmm , hmmm! I like that. (Laughs)

Alejandra:

Laughs…

Given that I have a personal investment with my community and the people that I care about

TR:

That’s the Disability community. When you’re connected like that it’s more than a job.

For the record, there’s absolutely nothing wrong with it being a job that you perform professionally.

Alejandra:

I have AD on for almost everything that I watch as well as captions. And there have been so many times where I’m like you know that’s not right, I don’t like that.

TR:

Word selection, maybe failure to fully describe what was on screen…

Alejandra:

We both know that a lot of it is in the timing. And again it’s because AD is added on after the fact. There’s some really interesting things that I’ve been able to consult with

I did a live Audio Description for a panel sponsored by the New York University Center for Disability Studies. it featured the short films of a film maker named Jordan Lord. They create autobiographical films but the AD is baked into the narration. It’s written in sort of a prose style and the shots sort of follow as it’s written. So it’s not something that you have to add on after the fact. The filming is informed by what the film maker has written. And it’s very interesting. I think more films should be made that way.

(Music slowly fades to silence.)

[TR in conversation with Liz:]

have you always identified as disabled?

Liz:

No, I haven’t. Four or five years ago I was in the Disability Studies program, another student was talking about her letter of accommodation and her relationship to disability and her own disability identity. She also had mental health issues and mental health things and I was like oh my God like I’m also part of this community and I didn’t even know.

[TR in conversation with Liz:]

How do those identities impact how you write description.

Liz:

I don’t think people are talking about this, the identity of the describer or the person who does the voice, who writes it. They’ve made a huge impact on how I think about Audio Description and describe.

TR:

While working on an art gallery project, Liz and a colleague each drafted what they refer to as positionality statements. This included their bio’s and a statement about how they became involved in description.

Liz:

If you’re going to read a book, you might want to know a little bit about the author. You don’t have to.

We are not in a post racial world. I think it’s very important and necessary to know if you’re in an art gallery or theater you definitely need to know who’s writing that book or that script or who’s doing the painting, where they’re coming from.

TR:

Liz who completed the ACB Audio Description project training, refers to one of the lessons taught.

Liz:

In Snyder’s training even in his book, I don’t know about other people’s training and workshops but there’s about two sentences about race and that’s about it.

Basically, just to kind of paraphrase it says to describe race if it’s important.

TR:

The guideline refers to importance in regards to the movie’s plot. But like Liz says:
Liz:

I would offer that it’s always important.

TR:

It’s especially important to those who are marginalized . those who have been under or misrepresented on and behind the camera. Important to those who care about equity & justice. Important to those who want to see the real world which includes so much more than just white men. (My words, not Liz)

Important is subjective. So who should make the determination when it comes to consuming content?

I propose the consumer. In order to do that, Blind consumers need that information.

Liz:

If you are describing race you need to do it for all the people or all the characters not just the people of color because otherwise it centers whiteness. So I agree with that. What I’ve experienced though, race is not described. Even in for example, Black Panther or in some movies or TV shows that is predominantly people of color.

Chanelle:

Traveling Broadway shows, they are so white. (Laughs) I’ll be the first to admit and I am about as white as you can get. Thank God more recently we have had a lot more diversity in shows.

(DJ Scratch… Music begins)

Hamilton is like the perfect example of this. Also Hades Town more recently.

I will absolutely go out of my way to make sure to point out that there are Black actors, Hispanic actors, Asian actors in a show just because I really want to celebrate the diversity of these shows going forward. I’ll do the same thing when I’m doing Circe Sol as well. The audience will always be very diverse as well so it’s great for someone who may not be sighted or may be Low Vision to be able to imagine themselves within that person in the show.

TR:

And if we’re going to change the way we think about race & privilege it’s just as important that non people of color also see and acknowledge & respect this diversity.

Like the saying goes, things are rarely black and white. There’s lots of shade in between. Those shades are important and often reveal other stories.

Liz:

If I do distinguish between someone who might be light or medium or dark skin, is that perpetuating colorism? I don’t want to perpetuate colorism. On the other side, probably when people in TV or film make casting decisions they are making decisions like that. Unfortunately!

TR:

Colorism or the practice of favoritism towards those with lighter skin has its roots in slavery and white supremacy. It’s not exclusive to the US or to African Americans but rather throughout communities of color.

Acknowledging a person’s color as description does not perpetuate colorism. A Blind viewer Wanting descriptive information about a person doesn’t make them a racist. Including editorial such as the prettier or menacing followed by color or racial identification, well that’s another story. It’s going beyond what’s required for Audio Description and providing opinion or analysis – which is the responsibility of the consumer alone.

Alejandra brings up an interesting point around identity.

Alejandra:

I’m Hispanic, but I have a lot of experience code switching and ultimately being very white passing, both in my physical appearance and in my voice. And whether or not I realize it or admit it in different situations that’s opened different doors for me.

TR:

And yet…

Alejandra:

The two things are very separate, AD script writing and AD Voicing, but I’ve done some AD script writing for some Netflix shows as a contractor. Not particularly things that I found super exciting but they needed somebody to write a script and then I didn’t get to voice those things because AD Voice work is like any kind of performance and acting work, they sort of have to want you for the part.

I think it’s important for the voicing of Audio Description to match the tone and the content and the intention of the work. And I don’t see that happening. Not very often anyway.

TR:

And then, there’s physical access for the creation of accessible digital content

(Music ends)

Alejandra:
At a practical level, places that are doing audio production, voice recording and audio books, even our local library that handles recording for the NLS, booths are tight. Wheel chairs are not. This is not an experience that these places generally have. They’re not generally expecting a wheelchair user to come in to record and it’s unfortunately like everywhere else I’ve had to have this discussion. Yes, I use a wheelchair, yes we’re going to have to make adjustments to booths so I can get inside, you can just barely squeeze into the booth and you need space to do these things.

And I’m also very interested in Spanish language content AD as well because there’s not as much of it.

TR:

This raises the question of non-English access in general. Something I fail to personally remember on my own when thinking about access.

Chanelle:
Each studio sometimes has their own rules of stuff that you can or cannot say. You can’t say that they point a weapon at someone. You can’t refer to anatomy in certain cases like you can’t say chest you can’t say butt!

TR:

I’ve heard this about Disney. At first, you may think well, Disney produces a lot of content for children. So they’re being sensitive to the viewer. But remember, it’s on screen. And it’s not just Disney.

It’s not just the censorship that annoys me, but even in terms of researching this, we’d need sighted help.

Liz:

If we as describers similar to people who do interpretation with like ASL, if someone swears, the interpreter should interpret that. I think the captioner should caption that. Because that’s what the person said. So similar to Audio Description, I think we also have that obligation.

TR:

Whatever the medium, television & film, live theater, video games, museums, art galleries and yes, you too right now uploading your images and videos to social media – getting all of these content creators to know and think about Audio Description needs to be a goal.

The benefits of AD extend further than the consumer. We all win!

Chanelle:

Regardless of what I’m watching now if it’s a TV show if it’s a movie if it’s another stage show, I find myself kind of mentally describing it like I would do it for an actual performance. So it’s very much changed my view point of media in general.

TR:

I know I’ve heard some conversation around what qualifies someone as an AD professional. A specific number of training hours? Certification perhaps?

(Music begins)

Alejandra:

Here’s the thing.

There are many folks who do this work because they have particular kinds of voices. Because they can crank it out because they’re smooth and more power to them.

I just am not that kind of describer because I have a very particular investment in my community and in the work that I am producing and that doesn’t mean that other folks aren’t doing high quality work. It’s just that what is informing their work is very different.

TR:

For an example of what’s informing her work, you can hear Alejandra narrating Alice Wong’s Disability Visibility: First Person Stories From the 21st Century right now on Audible. The book is available on Amazon and other outlets and it’s Alice y’all so it’s in a variety of formats because Access is love!

Alejandra does a great job narrating and I highly recommend the audio book.

Shout out to all of my guests for taking the time to speak with me;
Alejandra Ospina (Spanish accented pronunciation)
Available at SuperAleja.org that’s S U P E R A L E J A. O R G
The site Includes links to all social media.

Liz Thomson and Chanelle Carson.

You can find both on Facebook especially in the Audio description discussion group

Sound of News Breaking Segment…

This just in, it’s official! You are all a part of the Reid My Mind Radio Family!

I have a couple more episodes that I’m including in this Flipping the Script on Audio Description series. I’m not publishing them back to back so if you’re interested in the subject and want to make sure you don’t miss the next installment, please allow me to make a suggestion.

Subscribe wherever you get podcasts!
Transcripts & more are over at ReidMyMind.com. And yes, that’s R to the E I D
(Audio: “D and that’s me in the place to be” Slick Rick)

Like my last name.

Audio from The Flintstones:

Barney Rubble:

Do you think he’ll be back?

Fred Flintstone:

I don’t know Barn. Might be better if he wasn’t. Look at all the trouble he caused us.

Audio: Reid My Mind Outro

Peace!

Flintstones continues…
Barney Rubble:

He caused us or we’ve caused us? I wonder which it really is. Augh, I think he’ll be back.

Fred Flintstone:

Ah, looks that way. Goodnight, Barn.

Barney Rubble:

Goodnight Fred.

Hide the transcript