Archive for the ‘Advocacy’ Category

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

Flipping the Script on Audio Description Part Two – Voice matters

Wednesday, November 11th, 2020

Continuing with the question; When it comes to Audio Description, are we listening between the lines?

In this episode I’m joined by some extremely talented Voice Over Artists who are also lending their voice to some of your favorite Audio Description projects.

Allyson Johnson, Bill Larson, Inger Tudor and Tansy Alexander.

Each of our guests have more to say than what’s on the script

How important is voice? Not just the quality and tone, but what else is implied by what is heard? Is the voice indicative of an entire group of people. Can a woman’s voice fit a specific genre of film? Is there really a Black voice? Let’s flip the script and find out.

Listen

Transcript

Show the transcript


— Music begins – pulsating bright funky beat!

TR:

Greetings! Welcome back to another episode of Reid My Mind Radio.
The podcast bringing you compelling people impacted by all degrees of blindness and disability.

Audio: The beat comes to a stop after a record scratch “Hold Up!” DJ Cool from “Let Me Clear My throat”

I need to jump in with an amendment to my opening in order to acknowledge that yes, I should have posted this episode last week. However, last Tuesday was Election Day in the U.S and I just didn’t feel like it was the right thing to do.

Maybe it was an over analysis on my part, but if anyone actually missed the episode, I apologize. I just wasn’t in that space.

then yesterday, Saturday November 7, my wife yelled down to me, they called it for Joe!

Music: “A Brand New Day” The Wiz

So we took some time to celebrate and for a moment at least feel hopeful!

— Breathes in deep and exhales

That really does feel good!

Now back to my original opening.

Bring that beat back!

— DJ Scratch and then the pulsating bright funky music resumes!

Today we continue Flipping the Script on Audio Description and focus a bit on voices.
You can say voice matters. Or Voice Matters! Voice, matters!

Audio: Reid My Mind Radio Intro

#Intros

Inger:

My name is Inger Tudor. I am an African American woman , middle age, we’ll leave it at that. And I live in Los Angeles. I am a Voice Over Actor, I also do film, theater, television. I do some hosting, announcing and all that kind of fun stuff. Is there anything else you wanted me to tell you?

[TR in conversation with Inger:]

Did you say Audio Description?

Inger:

I didn’t because I was like oh that’s the assumed, but you’re right, I do Audio Description and audio books too.

— Music Begins – Upbeat Hip Hop beat

TR:

Earlier this year I had the chance to speak with several talented AD Narrators. I’ll tell you exactly where you heard them but go ahead and see if you recognize the voice or name.

Tansy:

Hi I’m Tansy Alexander. I’m a Caucasian woman. I’m five foot seven, I have Auburn hair. I’m very athletic and active. I do all variety from narration to audio books, to commercials, promos trailers, IVR phone systems. I’ve done pretty much it all.

Bill:

My name is Bill Larson I actually am a Voice Over artist. I do commercials, I do different types of announcing and so forth.
And I also do Audio Description.

Allyson:

My name is Allyson Johnson. I have been a professional Voice Artist for about 2 3 years. I’m about five foot five, a hundred and five to a hundred and seven pounds, I’m pretty thin. Now see here’s when I need an actual Audio Description writer because there so much better at this than I am. I read what they write and I think that is fantastic, but if I have to write it I’m like how do I describe my skin tone. Well, it’s kind of I would say, cafe ole. If you took coffee and you put a whole bunch of half and half in it, that’s my skin tone. I have people would say dark blonde, some people would say light brown ringlet curls. I wear glasses there like a brick red and black modeled polymer plastic frame. What else? Are there things that I’m leaving out?

[TR in conversation with Allyson:]

No, no you probably did more than most did. (Laughs) That’s why I left it vague, I just want to see what you do. Laughs.

Allyson:

Laughs… So that’s me!

TR:

Well, there’s way more to her than that! And we’ll get there, but first I know what you’re thinking. Thomas, that’s messed up, you didn’t ask Bill to describe himself.

He’s sort of off on his own.

Bill was one of the earlier interviews and the idea was not presented until after. However, stay tuned I’ll be sure to ask him more about himself during our conversation.

Each of our narrators share a few things in common. They’re all experienced Voice Over Artists who have either acting backgrounds, radio and even a bit of television. Of course, they each have great voices and know how to use them.

Inger Tudor used hers as a DJ at her college radio station. After graduating Harvard Law she put it to use as a litigator.

While working at a mid-size law firm in Boston, Inger was in conversation with another attorney who side gigged as a studio musician. She asked Inger an important question.

Inger:
What is it that you like about law?

I told her what I liked and why I wanted to be a lawyer. She said,
(– Music ends.)
you like acting in a courtroom, go act. You’re not married, you don’t have kids you don’t have a mortgage do it now, because you’re going to wake up and go okay, I want to do it and you’ve got all these things that keep you from doing something you can actually do. I thought about it and I prayed about it and I was like you know what, she is absolutely right!

TR:

She began taking classes and working in the field. This included voice acting. Boston happened to be a good market for her to get her start and SAG or Screen Actors Guild card. This gave her greater access to opportunities. Moving to New York city gave her even more. By the time she moved out to LA she was acting full time and no longer doing any law related work. Staying in touch with a playwright helped lead to her first AD opportunity.

Inger:

About five years ago he contacted me and said oh, I forgot that you do voice over. Would you come in and audition for me. I work in a department where we do descriptive narration for film and television.

TR:

And today!

Inger:

I do a lot of recording for the Media Access Group which is a subsidiary of WGBH the PBS station out of Boston.

TR:

Tansy’s introduction to VO felt more like that Hollywood story.

Tansy

I was out with my friend who did Voice Over, my friend Steve. We were at lunch at a restaurant and we were chatting about Voice Over and other things and a few minutes later a gentleman came over, a very distinguished gentleman, and said, do you do radio or voice over and I said well, not yet but my friend is trying to tell me to do it. He said well when you’re ready give me a call. He’s one of the partners in Abrams Rubleoff.

I never did sign with them but things did go from there because that was the impetus I needed to take it seriously and get things going.

TR:

And indeed things started going. Tansy intro to AD came after volunteering for a radio reading service in Los Angeles.

Tansy:

AIRS LA.

They would have us reading articles out of magazines and so forth then I decided since I am an actress as well to cover the entertainment portion which was really fun. I did that for a few years and then out of the blue this other opportunity came around not related, to continue to be of service to the Blind community through doing Audio Description.

TR:

Allyson’s first AD project came through her friend who owned a post-production company. He was approached by the producers of another film who were interested in including AD on their film and wondered who would be right to narrate. Why not an audio book narrator, he thought?

Allyson:

My first Audio Description was for the movie that he was working on which was the major motion picture Arrival. I left that session and I thought this is fantastic. I sort of went on my own journey and found Audio Description Training Retreats in North Carolina, Jan and Colleen who teach this wonderful program. That’s how I learned. It was within the year of me doing that film.

TR:

Bill’s introduction to AD?

Bill:

It was by accident. I used to work at Best Buy. We had this demonstration room where you could go in and experience what a home theater would sound like.

It wasn’t working right. We actually had a Blue Ray in there to demo for people but to get the normal audio that you would hear on a Blue Ray to play you had to cycle through at that time all of the other audio channels; French German, Chinese, the whole bit. The last track was Audio Description. When I heard somebody’s voice start to speak; (in his AD Narrator delivery)

“A plane flies over head” I listened to this and I said I need to do this. This is important.

[TR in conversation with Bill:]

Do you remember what movie that was?

Bill:

Yes I do, Kong, Skull Island.

TR:

Bill grabbed some more DVD’s and researched more about AD. He learned of the American Council of the Blind AD Project and headed out to the conference that year.

Bill:

That conference was in St. Louis that year. I was lucky enough to meet people who do and produce Audio Description. Did a demo for them and the rest is history.

TR:

Voice Over and AD fall into the entertainment industry which definitely has a history.

Allyson:

When I started out in this business, when I was still doing demo tapes on cassette, the sort of common acceptance was you would do a demo tape without your photo on it for the most part. Certainly in commercial voice over world which is where I started. They didn’t necessarily want to know what you looked like and you as the voice talent didn’t want people to know what you looked like either because you wanted them to make a decision about whether or not to cast you based on your voice. If you already been cast in something you wanted the listener to be able to create their own image of who you were based on what you sounded like so it sort of wasn’t relevant what you looked like. In some ways it could be either distracting or could give someone the wrong idea because sighted people tend to make very quick judgements when they look at someone. And if you don’t look like what you sound like in the voice over world that’s a whole other kind of issue.

Bill:

I have worked with different casting people and they look at my picture and have their own preconceived notions of how I sound.
[TR in conversation with Bill:]

Could you describe yourself?

Bill:

Are you of age to know Al B Sure?

[TR in conversation with Bill:]

Yeah!

Bill:

(Singing)

“I can tell you how I feel about you night and day!”

[TR in conversation with Bill:]

Laughing… I’m keeping this!

Bill:

I know you are, that’s alright though.

(Singing in his Al B Sure impression)

“Oh, Girl!”

Al B Sure was the bane of my existence in high school. Oh my God you look like Al B Sure.

TR:

If you don’t know Al B Sure, well he’s an R&B singer from the 80’s. He was something of a heart throb who had lots of female fans.

In case you’re listening Al, don’t worry Bill isn’t planning on leaving his day job any time soon.

Bill:

I have worked very hard on my voice. First of all I come from Chicago. I had to work the Chicago out of my voice, but at the same time I wanted my voice to be universal. I didn’t want somebody looking at me and making an assumption about me and that actually speaks to what’s going on right now in the world. I don’t want them to say oh well he looks Black so he must sound Black so I’m only going to give him the voice work for Black actors. I know the business enough to know what sound somebody is looking for for something. I would never, never ever say to use me if my voice is not appropriate for something.

TR:

Bill recalled one particular time when he went out for a role that helped him come to an understanding.

Bill:

Because of how I looked they wanted me to sound more ethnic. They didn’t want me to be my natural self. Because my natural self sounds like this. I am a bi-racial Black man in this country. There is no denying that. So when you see me as they did, they saw a voice in their head that was counter to how I actually speak. the product I thought sounded like crap because I was trying to be something that I wasn’t based on the notion of what they wanted me to sound like. I wasn’t me I wasn’t my authentic self. But more than that, there are other actors out there especially actors of color, announcers of color who would have given them exactly what they were looking for. So I thought to myself I’m never going to do that again. When you’re in this business, you’re always looking for work , I just don’t ever want to take the work out of somebody’s hands who could deliver what somebody’s vision is.

TR:

The goal of a fair selection process is to remove pre-judgement and create a system based on merit. In Voice Over that means the best voice for the role wins. Yet that’s subjective from the start. Meanwhile we know there are many ways to pre-judge.

Inger:

Inger is Scandinavian and Tudor is Welsh. There usually not expecting someone African American. Depending on who I’m talking to and how I’m talking, they can’t necessarily tell what ethnicity I am over the phone. It can become a funny thing or sometimes a frustrating thing.

TR:

Although not specific to the sort of Voice Over acting she does today, Inger shared a story about a time when she interviewed for a telemarketing position. Let’s be honest, the best telemarketers are truly acting!

Inger:
The initial interview was over the phone because they need to see how you sound. I’m talking in my corporate voice and how I would talk if I was talking to someone for a survey or what have you. I show up for the first day of training. Actually it happened to be a fairly diverse group of people but they couldn’t figure out why I was there. I said Oh, I’m here for the job interview and they all look at me like well who are you? I said I’m Inger Tudor and then I literally see like five or six heads all turn to each other with this look like what, huh? And I went “Ya, ya, you expecting someone Swedish, ya!” (Said in accent) So they all started laughing, because they were!
My name can work for me or it can work against me. Knowing my ethnicity can work for me or against me.

TR:

If we really think about it, the impact goes beyond the individual.

Voice Over agents for example. Pre-judgements can limit opportunities not only for the clients, but also the agents as they receive percentage of the work they find.

Inger freelances with two separate agents.

Inger:

One of them only brings me in for Black Voice Overs. the other one will bring me in for things that are a lower register or someone that’s middle age or an authoritative voice. Things that fit the type of characters I would play. And they bring me in for the Black characters as well.

TR:
Casting a project is often more than just voice. A narrator familiar with the culture for example, can provide insight into a project that those outside may have never realized they were lacking.

Allyson:

I did the Audio Description for If Beale Street Could Talk. What a glorious film that was and the description was so beautiful. I think it was the description for something that Regina’s character was putting on or taking off. Something with her hair.

TR:

Here’s a culturally competent moment for you. Those in the know, heard that and paused. Those who don’t know, well, we’ll just get back to the conversation.

Allyson:

I don’t know what the word was that they used to describe it but I was like I don’t know what that word is but that is not what we would call it and I don’t think anyone who’s listening to this would understand what you mean when you say it.

— Music Begins – slow dark Hip Hop beat

[TR in conversation with Allyson:]

Now you said that’s not what we call it. Who was the we; women, Black women?

Allyson:

I think in that situation it was Black people.

TR:

Issues of race and identity aren’t new, right?

Allyson:

There were no phrases like bi-racial, nontraditional casting, ethnically ambiguous. We didn’t have ethnically ambiguous back then (laughs) I mean we did because I am it but we didn’t call it anything.

[TR in conversation with Allyson:]

(Laughing) Right!

TR:

A natural extension of voice acting especially for commercials is on screen acting. The casting process there often begins with the image. If you’re interested in auditioning for a specific role, well your look will need to match the casting director’s or any other decision maker’s perception of that role.

Allyson

Whatever the category was they thought I might fit in, I probably wouldn’t fit.

Voice Over made more sense to me because nobody was necessarily thinking about it.

TR:

Necessarily!

Allyson:

They would use phrases in the specs like we’re looking for an urban – urban was always buzz word. It’s like ok, so you want Black.

In terms of Audio Description, I have been hired to do Audio Description for shows that are primarily dealing with Black topics or set in a place where the majority of characters on the screen are all Black. And I know that I’m being hired because they want a person of color to do the Audio Description. So in that sense it does play a factor that I happen to be a Black Audio Describer. It’s more of them just wanting to be sensitive to the content and to the material. You and I both know everybody needs a little bit more representation.

##Tansy:

And if I may broach this subject, I do think that we need to see more inclusiveness on the narrator side.

I get plenty of work, but I still think there’s a gender bias in the industry for males to succeed.

It’s the same it’s been for the whole spectrum of Voice Over since I started over twenty years ago, the belief that a male will sell it better. For whatever reason; the voice will cut through or people listen more to a man than a woman. These are stereotypes that probably aren’t true at all. These decisions to use a man or a woman are extraordinarily subjective.

TR:

Narrating for over ten years, Tansy had the opportunity to help in the early stages of multiple AD production companies.

Tansy:

I used to do a lot of action, landing on the moon, war movies, I’ve done a few last year. I can do a romantic comedy, I can do a children’s thing, I can get in there and get gritty. But all of a sudden they decide oh well for all the Marvel we need to have men.

TR:

Tansy noted some growth in opportunities expansion with the advent of female lead characters.

Bias we know goes beyond race and gender.

Bill:

I am double the man I used to be. (Laughs) So there was a time when I lost a tremendous amount of weight. But I don’t look like that anymore. When you’re in the professional acting and voice over field it’s best if you don’t misrepresent yourself. Now a days they call it Catfishing. If you’re cast for something based on an old picture and when you get to set and they realize you are double the size or your size card is out of date or your voice changes, then they’re probably going to dismiss you and not hire you again. I know how I sound. I want people to hire me. (Pause) And I love the look on their faces when I walk in the studio too. (Laughing )

[TR in conversation with Bill:]

Laughing

TR:

Representation really is serious business.

Have you ever really considered who you expect to hear narrating action movies or thrillers versus dramas or romance films? What about those films based in or on communities of color?

. For closing arguments I’ll call the litigator.

Inger:

Yes, we should be voicing the characters of color, but don’t Ghetto-ize us and make that the only things you give us to do. Cast me also because of the quality of my voice. If you’re looking for something that has a particular quality and ethnicity is not important to what the character is then I should be considered as well as a white actress. You shouldn’t just assume that it has to be someone white if that’s not important to the story.

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.

TR:

Did you recognize anyone? Here’s some of the projects our narrators voiced.

Allyson:

Arrival was my first. It sort of made me realize what I now know I like about description. The guys who wrote that script were not “Description Writers,” but they were the sound guys. They knew that movie backwards and forwards. They’d seen it over thirty times so they knew what was important to put in the copy. I only know that now looking back.

Audio: Allyson narrating Queen Sono

TR:

Allyson also narrated If beale Street Could Talk and can be heard on Queen Sono on Netflix.

Just this past spring, ESPN premiered The Last Dance. A documentary about The reign of the Chicago Bulls in the 90’s. I’m not really a sports fan, but I do love a good sports documentary. Unfortunately, it did not include AD. That is until it was released on Netflix this summer.

Audio: Bill narrating The Last Dance

Bill:

being from Chicago, growing up in that time knowing that the Bulls were that championship team and we had two three peats. That was amazing to me.

TR:

It just so happens, Bill has a connection to sports.

Bill:

If you happen to attend a Philadelphia Eagles football game, I’m one of the in stadium announcers there.

I’m not announcing the game, that’s actually the guy next to me. We’re not on radio, we are in stadium only. Whenever the teams go to a TV timeout, that’s when I speak because people in the stadium hear commercials or see promotions and I announce those.

TR:

In addition to The Last Dance on Netflix you can hear Bill on Money Heist and Project Power.

Audio: Inger narrating Hanna on Amazon Prime

If you’re familiar with The Neighborhood, Amazon’s Jack Ryan, Proud Mary or Once Upon A time in Hollywood then you probably heard Inger as she narrated these projects.

Audio: Tansy narrating See on Apple TV

Did you recognize Tansy’s voice?

As I mentioned to her, technically this is her second time on the podcast as her voice opened my episode with Joe Strechay and his involvement with Apple TV’s See.

Tansy:

Oh my God, well thank you, thank you very much. (Laughs)

Well, that’s interesting, ok, so now I have a question for you. If you watched See did you not know that was me by listening to me talk right now.

TR:

Ok, well, I didn’t. To be fair, yes, I could have had her full bio for the interview, but the interview wasn’t about specific projects. Tansy Alexander has voiced hundreds of projects over the years including Orange is the New Black, Stranger Things and she’s even doing live narration for the WWE. or World Wrestling Entertainment.

When I asked her if any stand out she struggled a bit but mentioned one

Tansy:

Switched at birth series.

We are doing a show with Audio Description but we’ve got a daughter in the show who can’t hear so we got sign language going on. We also have to describe any sub titles. It’s all fascinating how it works together. One of the episodes was completely done in sign language, so there was no talking what so ever in this whole episode so we had to bring in other people to do some of the reading of their sub titles because I couldn’t do them all it was just too many. It would sound stupid nobody would know what’s going on.

TR:
Having people know what’s going on is important to Tansy.

Tansy:

A person who is not able to see what’s going on is left out of the discussion. You can access the show but you can’t access the whole content. It’s not fair. I’m about equity.

[TR in conversation with Inger:]

Why AD? Why do you enjoy Audio Description? And I’m assuming you enjoy Audio Description.

Inger:

Oh, I do actually!

It’s a number of things.

One, I’ve always liked reading aloud. It was actually how I got into acting was in grade school, when we had to read aloud in class I would get so into doing it and giving the different characters different voices that they started sticking me in plays.

When you have the opportunity to see how it effects people like when you actually have an audience or if you’re reading to a group of people, you can gauge how your words are affecting them. If you change the tone, change the pitch, if you change the pace. What that does to how they’re receiving it, how they’re taking it in how they’re being emotionally effected by what you say.

TR:

yet, there’s little immediate feedback in Audio Description.

Inger:

I like the aspect of knowing everything I’m doing in terms of entertainment or acting just being about being on stage. There is some part of it that you want to be service, you want what you’re doing to help somebody in some way. Whether you’re helping them to see something different about themselves or about how they view the world or particular groups of people or what have you. One of the things I appreciate about the descriptive narration is you feel like you’re at least doing something that you know directly helps a particular group of people have access to something that they might not otherwise have access to. To being able to more fully enjoy a television show or a film because you’re describing the action that’s going on. So it’s one of those areas where you can feel like you’re entertainment and service are merging.

Bill:

I take this very seriously and I want you as a consumer of Audio Description to know that. Audio Description is a responsibility. Someone is watching this movie or this TV show. If you don’t take that craft, if you don’t take what you do seriously enough then the person who’s listening to it is not going to have a good experience and they’re marginalized even more. Just because it’s provided doesn’t mean it’s very good. And I always strive for it to be good.

— Music begins – A driving upbeat Hip Hop beat

TR:

Ladies & gentlemen, join me in saluting:
Allyson Johnson;

Allyson:

My social media handle is the same on everything @AllysonsVoice And that’s AllysonsVoice (spelled out)

TR:

Mr. Bill Larson

Bill:

On Insta Gram @BillIvoryLarson. Hit me up! let’s have a conversation.

TR:

Tansy Alexander

Tansy:

There’s links on my website TansyAlexander.com. TansyAlexander (spelled out)

And last but definitely not least, Inger Tudor. By the way, during the pandemic Inger began a cool project during the pandemic. The name really does capture the mission.

Inger:

“A Poem A Day Art and Love in the Time of Corona”

TR:

She continues to bring you exactly that. Every day a new poem read aloud. You can find it on her social media, Facebook, twitter and Insta Gram all @IngerTudor.

Inger:

IngerTudor (Spelled out)

TR:

Occasionally she’s even dropping some of her own original work.

Inger:

If you do check it out feel free to leave a comment about a poem or a poet or a topic you would like me to do a poem on.

[TR in conversation with Inger:]

Oh, you’re taking requests? (Laughs)

Inger:

I take requests!

TR:

As do I! Ahem!

— Music ends.

Four Voice Over Artists
Become Narrators for what we know as AD
they get interviewed for a podcast
And now become Reid My Mind Radio Family!

Audio: Air Horns

Audio: “It’s official!”

TR:

I salute you all!

— Music begins – A driving upbeat Hip Hop beat

TR:

Subscribe wherever you get podcasts!
Transcripts & more are over at ReidMyMind.com. And , you know I told you this before and I’m going to tell you every single time… ReidMyMind.com is 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!

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

Audio Description with IDC: Good Enough is Not Good Enough!

Wednesday, August 19th, 2020

IDC LogoWhen it comes to Audio Description, “Good enough, isn’t good enough”, says Eric Wickstrom, Director of Audio Description at International Digital center or IDC. As AD Advocates, this has to be our message.

In this episode we feature Eric & IDC’s Head Audio Description Writer Liz Gutman. We learn about their process, the industry and more all through the lens of consumers advocating for #AudioDescription. Plus if you believe Blind people should be involved in the creation of AD, you’ll want to hear what IDC is doing about this.

Listen

Resources

Transcript

Show the transcript

TR:

Welcome to another episode of Reid My Mind Radio.
This podcast brings you compelling people impacted by all degrees of blindness and disability.

I’m Thomas Reid, your host and producer. Occasionally, I feature stories from my own experience as a man adjusting to becoming Blind as an adult. Today, we’re continuing with our ongoing look at Audio Description.

Reid My Mind Radio has several episodes exploring the topic. They range from consumer perspective discussions and opinions to profiles of those in the field. In fact, you can go back to when ReidMyMind was solely a blog; I’ve been writing & thinking about the topic for a minute y’all.

Today we’re bringing you a conversation with some Audio Description professionals, through the lends of consumers as advocates. What can we learn from their process and experience about AD that can help improve our advocacy efforts?

The answers and more are up next.

Audio: Reid My Mind Theme Music

Eric:

My name is Eric Wickstrom. I am the Director of Audio Description for International Digital Center otherwise known as IDC, based out of New York City.

I run everything from the initial order through the delivery of AD projects.

TR:

Eric got his start in AD about 10 years ago while working at the USA Network. this was shortly after President Obama signed the 21st Century Telecommunications Accessibility Act now known as the CVAA. This mandates that major broadcast companies including some cable stations like USA, are required to provide a minimum number of hours of described programming each quarter. Over time, this number increases with a goal of 100 percent.

Eric:

I stepped up at that point and kind of offered to help spearhead the charge. Working with the heads of my department we were able to figure it out pretty quickly and get started building a library, got in compliance with the FCC. I did that for about 4 to 5 years. By the time I left we had the biggest library on broadcast television in North America.

TR:

About four years ago, Eric left USA and began working for IDC.

Eric:

We do everything from editorial stuff, color correction, quality control, media processing conversions audio mixing sub titling and all sorts of localizations. We have a full service dubbing department now that will do English to foreign language dubbing or the reverse. Pretty much A to Z anything you need we do

TR:

I wanted to speak with Eric to learn a bit more about their process specifically as it relates to us as consumers who are advocates.

We start with identifying some barriers to Audio Description which fall into two categories; quantity & quality.

First, budgets.

Audio: Music…

Eric:
It’s a very, very small part. Depending on the size of the production I mean there are cable networks that spend 12 to 15 million dollars an episode on productions and I can tell you in those cases your AD budget would be a percentage of one percent. The cost of producing a good , I’m talking about a good AD track; hiring the right people and getting it done the right way, your average AD track’s going to cost you less than like the Kraft’s service table does for a production of a T.V show.

Audio: Sound of a Adding Machine

TR:

We’re talking about a few thousand dollars.

Definitely not an amount to consider as a burden on the production of a television or film project.

So let’s not even call budget a challenge to AD.

Eric:

I just generally believe a lot of people don’t know what it is. My father and step mother were asking me three weeks ago about what AD is and I’ve been doing this for 10 years. If they don’t know by now…

[TR in conversation with Eric:]

Well, that’s just parents! Laughs…

Eric:

You know!

TR:

Truth is its much more than parents. I’m sure we’ve all encounter someone who has no idea about Audio Description. And like the good advocates we are, we explain it and probably encourage them to give it a try. The more awareness the better. But really, we need those in positions of power to be aware.

[TR in conversation with Eric:]

How is it that, production companies aren’t that aware of Audio Description at this time in 2020?

Eric:

A lot of production companies are aware of it now, the bigger production companies. They work with the bigger networks, the ones that would be mandated based on rating. Smaller production companies that traditionally work for like an HGTV or History Channel it wouldn’t surprise me that a year and a half ago when they were finally mandated to provide it, people looked at each other and said what is this. It wouldn’t shock me. If you haven’t been exposed to it you wouldn’t know about it.

TR:

It’s true, most major films are released with Audio Description. However, what about the older content that seems to remain undescribed?

Eric:

Well that’s changing. I know that like Paramount I believe did a big push two years back for AD to get it included on all the DVD releases. That back filled a lot of content that hadn’t been previously described.

Audio: Music ends in reverse.

TR:

Who watches on DVD anymore? We’re streaming.

Eric:

The problem with the streaming services is not all of them require AD. At least not for everything they air.

TR:

The issue is licensing. Streaming companies pay movie studios and television networks fees for the right to run these films and shows.

Eric:

They only have the rights for a year or two and then it goes away.

TR:

So if streaming network X pays to add AD, when it moves to streaming network Y…

Eric:

That service would have to commission their own AD track.

I think the answer there would be if every streaming service required AD, across the board then these companies that are selling the rights for these things would have to commission a track and then the track would follow that piece of material from service to service.

TR:

There’s different reasons for content not beings described. As advocates, an understanding of these can help direct our energy. In general when we find content has no description at all.

Eric:

You’d want to reach out directly to the studio itself. As far as television programming goes that would be a conversation for the network. If it became an issue about quality, it might be a conversation with the network, but then that conversation would have to happen with the production company that provided the show in the first place.

TR:

The push for quantity doesn’t automatically lead to improve quality.

Eric:

A lot of AD is mandated by the Federal government and a lot of networks look upon it as they have to do as opposed to something they want to do. That’s unfortunate because I think that’s where you lose a lot of opportunity for quality or conversations about the best way to do it.

TR:

As consumers, we want both; quality and quantity.

Eric:

It’s like anything. If I give you a gig bowl of frost bitten ice cream, yeah, it’s a bowl of ice cream but… a giant bowl of Ben & Jerry’s or Haggen Daaz that’s the difference. As more and more networks are pressured into providing the service, I’m hoping that they take a moment and say hey let’s give them ben & Jerry’s.

TR:

Shout out to Ben & Jerry’s!

Doing it right consists of three components;
The script (Audio: “Word”)
Narration (Audio: “Aw Yeh”)
And the mix (Audio: “In the Mix”) or making sure you can comfortably hear both the film’s dialog and AD narration.

Eric:

It’s all about the writing in my opinion. Without a great script you’re never going to create a great track of Audio Description. I don’t care if you get a James Earl Jones or Morgan Freeman to come in and read the thing.

If I were going to make a pie chart, the scripting would be about 80 to 85 percent. That’s how important the script is.

Audio: Music

TR:

Breaking it down further, here are the ingredients for a good Audio Description script.

Audio: Sounds of typing. ” What are you doing? “I’m writing.” – From Finding Forrester

Eric:

It has to identify the right things, it has to keep the character names right, not over explain things. You don’t need to write he shoots the guy, you hear a gunshot you know what happened. That’s a big failure with Audio Description is the overwriting of scripts and the over explaining of things.

TR:

Developing a staff of writers for Eric comes down to deciding whether to recruit or train?

Eric:

I have found over the years and this is just my experience, this goes back to my years coaching youth basketball 20 years ago, I coached young kids, 4th and 5th graders who never picked up a basketball in their lives and I so much prefer coaching those kids because it’s so much easier to teach somebody from the ground up than to break them out of bad habits they already developed.

TR:

Eric has seen a lot of bad habits from writers with years of experience.

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!

TR:

I agree the script is that important. So I spoke with head Audio Description Writer at IDC, Liz Gutman.

She first heard about Audio Description from a podcast. No, it wasn’t this one that would have made for a fantastic segue. The podcast is called 20,000 Hertz.

Audio: Music ends in reverse.

Liz:

It’s a great podcast. There was an interview with a woman named Colleen Connor who runs a training retreat in North Carolina. She is blind. She has theater training; she’s a performer and a creative person herself. She and this other woman Jan Vulgaropulos, who’s been a describer for a number of years, run this training retreat. I had never heard of Audio Description before, I didn’t know what it was and hearing Colleen talk about it, explain what it was and the purpose it served and what’s good Audio Description and what’s not good Audio Description. My mind was completely blown.

TR:

It wasn’t just Audio Description that blew her mind open.

Liz:

I’m a non-disabled sighted white lady and I have never really had to examine my own biases, my own assumptions, the way I move through the world. The way I perceive others to move through the world. I’d never really had to challenge that from a nondisabled point of view before that weekend. It was a profound experience.

[TR in conversation with Liz:]

That really does fall right in line with what we do at Reid My Mind Radio. I mean it’s all about adjusting and examining our misperceptions. Can you tell me what that was like?

Liz:

Yeh, absolutely. At the risk of sounding like a total jerk I was terrified. I didn’t know what to expect. I didn’t know what was okay to say or ask… Should I offer to help or not. Is it okay to say Blind? All this stuff that now seems very 101 to me, I was lucky to be amongst a group of very kind open people who encouraged me to ask questions and were very open about answering them

TR:

Ready for more, Liz completed the AD Retreat and attended ACB’s Audio description project training. There she was paired with a Blind Mentor.

Liz:

Her name is Myra. She’s great! I’ve gotten to go on described museum tours with her. She took me to see a described performance of Waiting for Gadot. That was excellent. She’s also taught me a lot about experiencing culture in different ways and that helps me become a better describer. Understanding what goes in to theater description and what goes into museums and art description. All of those things inform each other, I think in real important ways.

TR:

Soon after attending her trainings, Liz began freelancing with an Audio Description provider.

Liz:

Not too long after that I really lucked out and was referred by a guy who’s now a friend who I met at ACB who worked at this company IDC who was hiring a full time writer. I went in and chatted with them and as they say the rest was history. I’ve been at IDC since August of 2018.

Audio: Music

[TR in conversation with Liz:]

So you’ve only been doing Audio Description for two years?

Liz:

Yeh… (Laughs)

[TR in conversation with Liz:]

Laughs… Oh boy! Wow! Aw man.

Liz:

I know, it’s wild. I have a lot of impostor syndrome to get over.

[TR in conversation with Liz:]

Laughs…, Yeh, Well, you’re definitely not an impostor, c’mon!

Liz:

Laughing… Oh, thank you!

At the risk of sounding big headed I do think I’m good at my job. I would not consider myself an expert by any means, but I am very curious and I do love, I love, love love this work. I sort of intensively been reading and talking to people, watching stuff with Audio Description and kind of immersing myself as much as possible. Which has just been so rewarding. Not just because I love the work, but this community is just unbelievable. Describers and consumers of Audio Description alike. I’m just like floored and grateful always to be doing this.

TR:

It’s said it takes about 10,000 hours of practice to become an expert in any given field. But what about the related skills that comes from prior experience? That has to account for something, right?

Liz:

My first job out of college was watching T.v. and writing trivia questions about it that would then be linked to product placement. So basically gathering marketing information to sell to advertisers.

(Laughs…) I’ll just put it this way; I couldn’t watch any T.V. or movies without noticing products. (Laughs along with TR)

That brands of cars, that brand of soda (laughs) Oh he’s wearing that brand of that t-shirt. I couldn’t unsee it.

TR:

That attention to detail serves a purpose today. Add a minor in creative writing in college, publishing a cook book, writing for a well-known food blog and running her own business for 10 years, Liz has a wealth of experience and knowledge to draw from. She wrote about chocolate for goodness sake!

I’m not sure how many ways you can describe mm delicious!

Audio: Music ends

That’s quality AD – language that succinctly evokes an image.

At IDC, writers are selected for a project based on their specialties or specific interest.

Liz:

One guy just sort of tends to usually do a lot of the fantasy actiony stuff. Someone else does a lot of reality stuff.

Our department head will kind of weigh all of those things between scheduling and who might be best suited to write it and assign it to the writer.

TR:

Just because there are specializations, doesn’t mean you’re working alone.

Liz:

What I love about working at IDC is that it’s really collaborative and we all ask each other questions. We get the best of everybody. If you get stuck on a phrase or can’t decide how to deal with a certain thing and you want to describe all of the stuff but you only have time for one thing or help prioritize.
A lot of what we’ll do is take a poll. Do you guys know what this word means? If more than half of us do then we’ll use it!

[TR in conversation with Liz:]

I’m wondering when instances of cultural competence come into play, how that works through in the writer’s room. So what does your writer’s room look like and how does that play? Can you talk a little bit about that?

Liz:

Yeh, absolutely. And that’s a really important question and one that we’re constantly considering and making sure we take into account. We’ve had conversations about the finer points of a person in a wheel chair, person using a wheel chair, and why the phrase wheel chair bound is not okay. All the finer points of describing someone who is different from you in any way.

TR:

Differences like race or skin tone. Yet, the AD guidelines specifically call for excluding race or color.

Liz:

Unless it’s crucial to understanding the plot. And if so, everyone’s race, ethnicity needs to be called out and mentioned specifically.

I do think representation is super important and I do think it’s important to mention it just so that a Blind Asian kid or a Blind Black kid so they can know oh cool, just in all the ways that representation matters right?

[TR in conversation with Liz:]

Yeh, 100 percent. I think it’s important for a Blind white kid to know that too. To say hey these people are in this movie.

Liz:

Right, and to not make the assumption.

[TR in conversation with Liz:]

Absolutely.

Liz:

If you say like oh, a tall woman and a short woman and a Black woman then you’re making the assumption that everyone else is white and white becomes the default.

TR:

As advocates believing in inclusion for one group, I’d hope that means inclusion for all.

If so, we should absolutely promote diverse writer’s rooms. That diversity should include the widest range of identities; race, ethnicity, gender, disability and LGBTQ plus representation.

Audio Description is all about providing access to information that isn’t conveyed audibly. Sighted people have this access and process it individually. Some may choose to question the casting choices and others may find them empowering. No matter how one chooses to use that information, Blind people deserve that same level of access.

Liz:

We also struggle with as describers, having enough time to include any of this stuff. Sometimes you don’t get to add any description to somebody before they’re named or even after they’re named if it’s something really dialogue heavy.

TR:

This lack of time is extremely important. This has to be a part of our awareness conversation. It’s not enough that networks and studios have to provide AD. We need them to understand the value and make it an equitable experience. Creating the space for AD in their projects makes that possible.

I’ve been ranting for years about making use of pre-show AD.

Liz, who in addition to writing also narrates and directs AD sessions at IDC, agrees, it just makes sense. Especially in the fantasy genre where the imagery is unlike anything people would be familiar with.

Liz:

When a creator builds this entire world from scratch for the audience and I only have the spaces between the dialogue to describe it, I do my best, but there’s no way I can do justice to the scope of that. So I’d love to have an extra 15 to 20 minutes to just talk about the world; each village, each type of character and all of that stuff because it’s so integral to really enjoying the series.

Eric:

That’s the writing and from there you talk about voicing.

TR:

Eric’s referring to narration – the second of three components required in Audio Description.

Eric:

When I say the writing is 85 percent of it, that’s not to imply that the voicing is not important. The voicing is extremely important. You can certainly ruin a great AD track with a bad voice. We’ve seen it happen.

Audio: “Do you hear the words coming out of my mouth?” Chris Tucker in Rush hour

Eric:

Finding the right voice for the track itself to try to match the story to the VO (Voice Over) as much as possible. But also just you want to make sure you get the right tone. Some places use a one size fits all approach to voicing where the same voice person will do a wide array of projects. Nothing wrong with that it’s a creative decision, a creative approach. We try to really fine tune every choice of voice with the script. That’s usually a conversation between me and the writers as they get into a project, maybe half way through I’ll have a conversation with that writer and say hey who do you think. That’s a benefit of having a team that’s been together for years. They sometimes have an idea before I even do about who’s going to voice something.

The last part of the process which again, very important and generally overlooked is the mix.

Audio: “As you hear it, pump up the volume!” Eric B & Rakim, I Know You Got Soul.

Eric:

A lot of times you hear AD tracks and you hear a really jarring shift in volume? That’s because the company’s feeding through an automated program. It’s a cost cutting move. It doesn’t save that much money. It really hurts the quality. I don’t like it. We won’t use it. Period!

Eric:

The last part of our process is a full QC pass.

TR:

QC or Quality Control. Checking the final production for all sorts of inaccuracies.

Eric:

If we’re misidentifying a character and this happens often. You’re writing thousands of words, it’s easy to type Bob instead of Mark. Bob enters the room. Bob leaves. Well maybe that was Mark.

TR:

Additionally there’s checking the levels of the mix, listening for mouth clicks and pronunciations.

Eric:

When that track leaves our facility it’s gone through quite a production line of work.
[TR in conversation with Eric:]

Would you employ Blind folks for the quality control part of it?

Eric:

You know that’s something we definitely discussed. We would. As far as the quality of the mix, the overall experience of the AD, yes!

TR:

IDC already holds regular focus groups bringing their writers together with AD consumers.

Eric:

That’s a very important part of what we do. We’re not making unilateral decisions about what the Blind community likes. All of our decisions are informed by the Blind community.

TR:

Audio Description advocacy needs to include creating opportunities for Blind people in as many possible paid positions throughout the production process.

By possible, I don’t mean based on the current process. There are many ways to get something done.

Eric:

Covid especially added another level of stress because everybody was scattered. We were used to writing as a team in a room together. Like a regular writer’s room in any television show we’d sit there and bounce ideas off each other. That’s taken on the form of daily Zoom.

As far as the Voice Over people goes, a lot of our VO people work in New York City. We use a very diverse roster of people. I had to figure out how dozens of people were going to be able to record VO. Some of them are already actors and Voice actors that have their own setup, but many of them didn’t

TR:

The pandemic demanded job accommodations and a new workflow which can be beneficial to the disabled community.

Eric:

One of the things we said this year at IDC we wanted to do, we wanted to get some Blind people involved directly with the narration of Audio Description tracks. The challenge of that was that we didn’t do a lot of remote recording. We weren’t setup for it.

TR:

. Since this interview IDC has made some progress on that goal. I reached out to Eric for an update on his progress.

Eric:

I can tell you it’s going very well. You could speak from personal experience. You were nice enough to be the first person to jump in with us and help develop some workflows. I was very happy with how the quality of the track turned out. The feedback we received through social media and through the clients at Netflix., they were very happy as well. We’ve already launched our second project on Netflix with a Blind Narrator. The third one’s in the works. We’ve onboarded two other Blind Narrators and I have three more on deck.

TR:

I’m excited for the opportunities this presents for all Blind and disabled people intrested in AD Narration.

Eric:

Kelly McDonald who we used on the second project that just launched, Sam Jay’s Three in the Morning on Netflix. He’s a radio host up in Canada. In fact, his co-host Romnea was onboarded as well. They have a unique ability because they’ve done radio for so long and I think Thomas you said you have this ability as well from podcasting all these years to be able to actually hear a track in their ear and repeat it in real time. At the same pace, same inflection. Originally we thought using Blind Narrators is going to be something that’s gonna be easy to do with reality shows like the one you worked on SkinDecision. Stand up specials like the one Kelly worked on.

TR:

It’s a matter of being vocal about our abilities.

Eric:

We’re not the first studio using Blind Narrators. That’s not accurate if people are thinking that. There’s plenty of narrators out there that have been working for years doing narration and podcasting, radio broadcasting. So the talent is out there.

TR:

With that said, if you’re interested and have the ability to record professional sounding audio, stay tuned and I’ll let you know how to contact Eric.

Eric:

We’re putting our best foot forward as a company in trying to be inclusive and accessible using as many talented people as we can.

There’s no excuse based on what we’ve discovered over the last few months, every studio creating Audio Description should be using Blind Narrators to voice the material they’re putting out. And in addition to that we’ve onboarded some Blind people from the community to work in our QC process as well.

TR:

These conversations with Eric & Liz helped shed light on the challenges to AD right now and the future.

Company’s cutting costs by automating the mix and employing synthetic speech are underbidding for jobs. Multiple people in the business have said how this has directly impacted the fees other AD production companies are able to charge. How soon before other companies are forced to cut corners in order to stay afloat?

It’s imperative that as consumers and advocates we demand quality – not that cheap sort of accessibility that gets slapped on at the end in order to comply with a federal mandate.

Eric:

That has to be the push of the community to develop universal standards. There’s no approved vendor list per se like universally, everybody’s kind of left on their own. It doesn’t take much more effort to do it right.

TR:

AD unfortunately, is viewed as an expense and not one that generates revenue.

Eric:

And that’s wrong. There’s 6 to 8 million visually impaired people in America at the last estimate. Every year as people live longer that number goes up. Those 6 to 8 million people are part of families. Families are using Audio Description so everybody in the household can enjoy watching television together. Especially now in this time.

That track is made for 6 to 8 million people but its impacting tens of millions of more people.

TR:

Remember, the AD budget is a few thousand dollars. Your annual streaming network subscription will set a family back over $150.

Eric:

. If that encourages a family of four to subscribe to your streaming service or pay extra for cable it’s more than paying for itself. You really don’t have to draw that many families to break even and then to turn a profit it’s just a few more.
just left on their own. It doesn’t take much more effort to do it right.

TR:

Making sure AD is done right inevitably comes down to the Blind community.

Eric:

If you hear a track either on a streaming service and you like what we did or you didn’t like what we did, reach out and let us know. I’m always open to feedback.

Audio: Music

TR:

Feedback should be a gift, so make it constructive.

Eric:

Don’t just say hey you suck!

Well, thanks, that doesn’t really help!

We’re trying to provide a service. We love this we want to make sure we’re doing it right. I always say if I want positive I would just ask my mother what she thinks.

TR:

Do you have a project that would be a lot better with Audio Description?

Are you interested in getting involved with AD as a narrator and have the ability to produce a high quality recording?
Do you have some comments on a specific project with IDC produced AD?

Reach out…

Eric:

I’m always happy to talk about AD. It’s a passion for us. It doesn’t have to just be business inquiries. Anything you have to say feedback otherwise … you can find us at IDCDigital.com. You can search for Audio Description, fill out the form and it will get to me.

TR:

You can also get to both Eric and Liz on Twitter:
@IDC_Eric
@ Liz_IDC

TR:

I hope this episode contributes to moving the conversation around Audio Description advocacy to be more about good & bad Audio Description, the ways it could be improved and the inclusion of more Blind people at every point in the workflow.

We know why AD is important to us as consumers. It goes beyond watching movies, television and theater. It’s relationships that come from these shared experiences. It’s opportunities for conversation, education, entertainment, imagination building and more.

What about the perspective of those producing AD?

[TR in conversation with Liz:]

When you speak about it you’re very passionate about Audio Description. Why?

Liz:

That’s a really good question. (Long Pause) Selfishly, it plays to my skill sets really well. It requires a large vocabulary, I’ve been a bookworm my entire life, but it also has really strict parameters. Audio Description provides that framework I find challenging in a really stimulating way. And on top of that it provides a service. That creates meaning for me.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’s 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: Stay Golden

TR:

Eric expressed a very similar sentiment and noted that he really appreciates the feedback from the community. He shares his wish about AD in the future.

Eric:

I look forward to the day where I don’t get as much appreciation. Because it just becomes the norm. I look forward to the day where Blind consumers become pretty complacent about it. Oh yeh it’s got AD, great! It shouldn’t be something special and quality shouldn’t be something that’s special.

TR:

A big Shout out to Eric Wickstrom, Liz Gutman and the entire Audio Description team over at IDC. It’s official; you all are now part of the Reid My Mind Radio family!

Eric was a really kind coach. After submitting my first draft he shared his comments which were incredibly helpful and I think go beyond AD narration.

Eric:

You suck!

TR:

That really isn’t helpful!

You know this isn’t the last you will hear on this topic. In fact, I have some more coming up soon so stay tuned. In order to do that may I suggest you subscribe wherever you get podcasts!
Remember transcripts & more are over at ReidMyMind.com. And yes, tell them that’s R to the E ID
(Audio: “D and that’s me in the place to be” Slick Rick)

Like my last name.

Audio: Reid My Mind Outro

Peace!

Hide the transcript

Let Me Hear You Say Black Lives Matter

Wednesday, June 17th, 2020

In gold lettering on top of a red, black & green background appears "Reid My Mind Radio."

the title says it all! It’s the place we have to start if we are really going to make change in this country & world. I’m talking about individuals as well as society. And included among that group are the blindness consumer advocacy organizations; ACB and NFB. While there are differences in the founding philosophies of each, at the core both of these groups strive for Blind people to have the same rights as our sighted peers. Do they really mean all Blind people? I want to believe they do, but I guess I’m going to need to hear them say it; Black Lives Matter!

I’m trying to remain optimistic but right now, it really takes a lot of effort to be hopeful. I was reminded of a story from the Reid My Mind Radio archive that in a way illustrates some of what needs to happen in order to really move forward.

Listen

Transcript

Show the transcript


Audio: Music… “Mission Start”

TR:

Welcome to or back to the podcast! My name is Thomas Reid and I’m the host and producer of Reid My Mind Radio – the podcast bringing you compelling people impacted by all degrees of blindness and disability. Sometimes I share experiences of my own as a man adjusting to becoming Blind as an adult.

today, well, it’s right there in the title. That is, the place we have to start if we are really going to make change. I’m talking about individuals, society and yes blindness & disability advocacy organizations.

If you’re part of the Reid My Mind Radio family, you know I’m pretty optimistic. It takes a lot of effort right now, but I’m trying y’all, trying to remain hopeful.
Audio: News commentator announcing global protests in London, Australia, Japan, Korea & Germany. All mixed with the chants of Black Lives matter!

TR:
That solidarity & declaration that I’m hearing from around the world, feels good, but I
need to hear it from voices much closer to home.

Audio: Montage of voices saying Black Lives matter. Each panned along the stereo spectrum.

TR:
Let’s go!

Audio: The final voice says;
“Yo, Black Lives matter!” The voice of Siri from the IPhone says” Send”

Audio: Reid My Mind Radio Theme Music

Audio: Sounds of dinner table/kitchen conversation from the Reid family household.

TR:

Like a lot of families meals are a time to come together. Not only to prepare and enjoy the food but also to check in with one another.
In the Reid household, we established some rules years ago around what was acceptable during meals. Like we don’t answer phone calls, we don’t look at our devices but rather we stay in the moment while we are eating together.

Audio: News commentator on the killing of George Floyd and protests.

TR:

Unfortunately, no matter how much I would like the rule to be in effect, just while we’re eating, there are times we can’t really afford to keep them. The most recent murders of Ahmaud Aubrey and George Floyd, the protests and of course, the self-described nationalist in the White House have caused us to rescind the rules. Both of my kids need to discuss all of this.

Riana who will be 23 soon is extremely passionate when it comes to issues around social justice. She needs to be active and she’s figuring out the best ways for her to do that. For example, donating to protester bail funds, continuing to educate herself through reading and research and sharing resources with her network.

Raven is younger, more internal and is really figuring out how to articulate her thoughts. Her friend groups are very diverse and she recognizes the differences and really appreciates them. Recently, she had to deal with the outing of a classmate, one in particular which has garnered a lot of national attention. This young 17 year old made very public awful racist comments. Listen to the statement from a young girl from Generation Z. Some thought this would be the post racial generation free from racism. Notice how deliberately she shares her revelation.

If you are triggered by little racists using the N word, skip ahead about 34 seconds.

17 Year Old Racist:

So, I’ve been seeing this video going around about why Brown people should be able to say the N word. So I’m here to tell you why white people should be able to say the N word. Because we made it up and none of you guys would be able to say that word if my ancestors didn’t decide to call you Black people Niggers all the way back in those old days. And so what do you guys do to try and show your appreciation, for coming up with your best word to call your best friend Nigga as you pass each other in the hall? You do what all good Black people do, you stole it. So all I’m doing here is trying to take back what’s already ours.

Audio: Ambient music

TR:

If it was shocking to you because you never heard this sort of language, it’s time to acknowledge your privilege. It’s not a time to pat yourself on the back because you raised your children to be color blind. It’s not a time to feel the need to share how you cried when Dr. King was assassinated or even you know someone who is Black. That doesn’t work towards a solution which makes you part of the problem.

Not even the four walls of our comfortable home can keep my family protected from the reality of violence against Black men, women and children. Like trying to explain to my kids how Travon Martin’s murderer was not going to face prison. Michael Brown’s killer would just walk free.

Riana has goals of moving out on her own. Meanwhile Breonna Taylor a 26 year old Emergency Medical Technician gets shot 8 times in her own home by police after wrongfully busting in her house in search of a suspect already in custody.

Audio: Two young children saying “Black Lives Matter”

Raven right now is learning to drive and I have to think of Sandra Bland and the others who have ultimately have fatal encounters with police because their driving while Black.

A word of caution:
What you’re about to hear is an example of the trauma and fear associated with police brutality. If the threat of violence is triggering, please skip ahead about 2 minutes.

Audio: Woman passionately trying to help a young Black man while he is being surrounded by police. We find out her boyfriend was also killed by police. The audio ends with her sobbing for them to simply put their guns away while begging the young man not to move.

TR:

Y’all know this isn’t about my privileged dinner time, right?

for Black people, it’s not only the threat of violence and interactions with police, but not dealing with the feelings around these murders is like allowing a virus to infect our bodies. We can wash our hands regularly, sanitize every package that comes into our homes, eat organic food but how do we protect ourselves from feeling as though we don’t matter.

Audio: A woman saying Black Lives Matter.

TR:

Being totally Blind doesn’t stop the images of these horrible killings from being engrained in my mind. I don’t need to see video of Michael Brown’s body left on the street after being murdered, I don’t need to see Ahmaud Aubrey being shot down or this deranged so called officer kneeling on George Floyd’s neck to understand what that looks like. In fact, these images involuntarily flash in my mind without ever having seen them.

Recently I tweeted that I was waiting to hear a show of solidarity from the blindness organizations. I soon read one from NFB and then specifically questioned if ACB was going to show their support. They did. They also directed a tweet to me that they were waiting on a review before posting.

My response was that I was happy to see them done but the real statement will be seen in their actions like representation on their boards and leadership position and outreach.

Both statements were weak. In general, any solidarity statement at this point in time that does not include the simple phrase acknowledging that Black Lives Matter, it doesn’t have much weight in my opinion.

Audio: fire engine racing towards a burning building.

If a house was burning on a block of 10, should the fire department show equal attention to each house. Wouldn’t it be fair to first put the one fire out? Save the family in the house. Apparently some would prefer the fire department drive right past the burning house in order to make it clear that all the houses on the block are important. Meanwhile, do you all smell that smoke, the other homes on the block are beginning to burn.

Audio: Young man says Black Lives Matter

TR:

If a solidarity statement had to be generated by the Black or multi-cultural segment of the organization, it’s starting from the wrong place. Is that because some blind people like to think their blindness makes them immune to racism? Funny thing is most Blind people have had sight at some point. In fact, most Blind people aren’t even totally Blind. You’re not being honest with yourselves if you think racism doesn’t affect you. As if you don’t benefit from white supremacy.

Audio: Do Blind People See Race…

From Tommy Edison YouTube Channel:
“Martin Luther King always talked about don’t judge a man by he color of his skin but by the content of his character. And I have to be honest with you I think people like myself and other Blind people are the best at that because we don’t see the color of their skin.”

From YouTube, “Can Blind People See Race” Freedom is mine official.
“Can Blind people see race? Given that we identify a person’s race primarily by their appearance, what elements do the visually impaired use to perceive race. Several studies have been done into this area and the conclusion is definitely yes, visually impaired people can perceive race.”

TR:

History has shown when it comes to so called racial issues, America is all about weak statements.

America doesn’t want to examine their role. You know what, let me say that again to not sugar coat it …

Audio: Music…

TR:
White America doesn’t want to do the work to fix racial injustice.

I see the same right now from blindness organizations. Asking Black people to lead this effort isn’t the fix. Rather, once again for Black people, our dinner time with our families are being interrupted.

Why not start with a real self-evaluation. Have a conversation among the organization’s leadership and board about race. Whether personal but more specifically as it relates to the organization. Look back, how many members are even in the organization? How often does the leadership interact with them and what have those interactions been about? How often do we hear from Black people at our meetings and conferences. have we ever truly done any outreach or did we wait for those Black people in the organization to recruit others?

This is a problem that existed in this country for 400 years and won’t be fixed with one statement. it won’t be fixed in our lifetimes. It requires a lot of work that starts with honest self-examination.

To be clear, I think it’s time for these organizations to truly look at the intersections between disability and other identities. The majority of police brutality cases impact Black people with disabilities. Women with disabilities experience an overwhelming number of sexual attacks, LGBTQ and Trans communities have a significant population of people with disabilities. And Black Trans gender men & women need our support. Honestly, if you have a problem with that then you need to ask yourself if you’re really about justice.

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.

TR:

In producing this podcast, I’m always searching for the right mix of education, resource sharing and entertainment. As I usually believe our stories have more to offer outside of those adjusting to blindness, I recalled this travel story from the Reid My Mind Radio archive.

Audio from “Traveling Zen”

Audio: Biggie Story to tell

TR:
Just this past Thursday I was traveling to Mobile Alabama –
Yes, Mobile Alabama…
Why?
Well that’s not really for this discussion.

In fact, let’s go revisit the day…

Audio: Car pulling to curb

TR:

Exiting the chauffeur driven Suburban I’m met by one of the Allentown Airport staff responsible for
Assisting travelers through the airport. I refer to them as the Meet and greet staff.
Normally, I have to get to the check in counter in order to request this, but luck
Just had it a very nice gentlemen by the name of Tom was waiting on the curb for someone who needed assistance.

Audio: SoundOfAirport – Check-in/Security

Smoothly clearing the check in process and
Security, Tom informs me that my flight is delayed just as we reach the gate.
It was close to 12 PM. And my flight was originally scheduled to leave at 1 O’clock and
Arrive in Atlanta at 3 PM for a connecting flight To Mobile at 5:15 PM.

Ok, no worries a departure at 2 is fine, I’ll get to Atlanta by 4. No problem, even though Atlanta’s airport
Is huge, I’d still have time to make my flight. And I’d rather wait in Allentown airport which is way smaller and comfortable.

At 2 O’clock I’m told we’re now Departing at 2:30.
Now this is a potential problem! With a connecting flight at 5:15…
There’s a good chance I’ll miss my flight.

I go over to the ticket agent to see what I can do about this potential dilemma.
Rosita, the ticket agent schedules me for the later flight Which leaves Atlanta at 9:15,
In the event I missed the 5:15 flight.

Requiring the assistance of a meet and greet means I’m one of the last people off the flight. This Adds to the probability that I
May miss my connection. On the flip side, I’m one of the first on the plane!

I’m pretty relaxed already, but now I decide it’s time for me to go into a Zen state of mind. One thing about adjusting to blindness, it means
Becoming accustomed to waiting.

The ticket agent announces over the PA that it’s time to board.

I grab my coat, bag and cane and proceed to the counter. I board with one of the ticket agents.
I ask her if she could somehow call ahead and make sure a meet and greet is there
When we arrive so I can exit the plane quickly and make my connection. She takes my boarding pass and says she would do that.

Sitting in the window seat, I strike up a conversation with my seatmate when he arrives on board Delta Flight 5387. I tell him about
My connection issue. He seems to think I have a strong chance of making the flight.
We chat a little more, I put my headphones on, and open my Audible app to read my book. I’m good, I’m pretty relaxed and calm… I accept what I can’t control!

At around a little after 4, the pilot announces that we’re about to descend and
We’re scheduled to arrive on time 4:40. My seatmate, nudges me,
I think you’re gonna make it, he says. Knowing what I know about the wait for a meet and greet
I tell him, “Meh, we’ll see! I’ll still have to wait for assistance…”

At 4:45 we’re on the ground taxiing to the gateway
I take out my phone and check the Delta app to determine the status of my next flight. There’s significant bad weather so I’m hoping
My next flight would be slightly delayed. Nothing…
The pilot announces we’re going to terminal C gate 33. By 5 PM we’re still on the tar waiting to be directed into our new gate, D 33.
My seatmate is excitedly telling me I can make that flight.
“Just run out of here you can make it he says. I’m thinking did he not hear me when I said I need to wait for assistance.

I check the app again, it now says my next flight is boarding and scheduled to leave on time.
At gate D29. I tell my seatmate… Aww you can do it! He says as
he stands up to retrieve his bags from the overhead. I ask him to pass me my back pack and folded up cane.
Is this yours too, he asks
A folded up white cane, I ask… Yes! Now, He sounds confused… I think it sinks in…

My man, I say… do you think you can help me Get to d29… it has to be right near this gate.
I didn’t think it would be a bother, he wasn’t connecting to another flight. Yeah! He exclaims
I say to him… “get in front of me and let
Me hold onto your right elbow.” He complies…
I grab my bag and we take off.

Audio: Victory music

My seatmate now ripping through the narrow aisle. And my shoulders knocking into chairs and walls
He apologizes… Bro, I can take a hit let’s do this… turn it up. Yeah, he exclaims again now even more determined to accomplish his goal…
We zoom past the flight attendants who say something about An assistant… I don’t bother responding, no time for that
My seatmate and I are now a team and we’re on a mission.
“He’s my blocker “I think to myself and we’re gonna score this touch down…

We can do this, I hear him say as we rip past the ticket agent at gate 33… As we’re quickly and purposefully walking, in search of gate D29-
I hear my name. … Paging Mr. Reid, Thomas Reid… That’s me I tell him.
“He’s here, he’s here” yells my Blocker… He’s here, he’s here…says the ticket agent at D29 into a telephone…

We get to the podium at gate 29… Touchdown!!!

As if rehearsed, We do a two hand high five, chest bump, all While the ticket agent and bystanders applaud….

Ok, that would have been the movie version celebration.

Instead, the ticket agent asked for my boarding pass… I retrieve my boarding pass
Thank my team mate and I’m hurried onto my next flight.

I didn’t get his name or even had the chance to Shake his hand, but man I appreciated him.

Sitting on my final flight to Alabama considering how through that entire process
I felt quite comfortable and calm with just going with the flow. I thought about the first part of that very well known
Serenity prayer: God grant me the serenity to accept the things I cannot change; courage to change the things I can; and wisdom to know the difference.

This experience reinforces what I believe is the power of team work. I thought about how this pertains to lessons
for those adjusting to blindness or for that matter adjusting to any sort of change.

I’ve always been one to think of that very broad definition of independent as doing something by myself.

Could I have done this by myself… Some may quickly say no, others may argue yes with the right circumstance as in accessible information…
like a good indoor navigation app. But honestly,…,…., it was way more fun with a team!!

Audio Bumper bringing us back to the present.
Audio: Music starts…

TR:

My seat mate and ultimately my team mate for a few minutes at least, was as far as I can tell a white guy. We worked together. I was in a position where I needed him to be out in front if I wanted to make my flight. It wasn’t my only option, but missing that flight would have meant a really long and possibly very uncomfortable delay. Not for him, but rather, just me.

Reid My Mind Radio will be back on August 4th. I have some really good episodes planned for the second half of the year but right now, I need to do a little recharging. If you’re new to the podcast, feel free to check out the archive. We have over 100 episodes and they don’t expire.

You can get that just by subscribing to Reid My Mind Radio wherever you get your podcasts. None of my stuff is behind a pay wall because I really do want it to be an accessible resource for those adjusting to blindness.
Transcripts, resources and 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 Radio Outro

Peace! And I really mean that!
Audio: Headphones dropping on table.

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