Archive for the ‘Blindness’ Category

Disability Representation – Same Goal Different Strategy

Wednesday, April 24th, 2019

Titled Disability Representation, this collage includes scenes from ; Forrest Gump, Rain Man, Ray, Wait Until Dark and The Rear Window; All movies with a disabled character played by a non disabled actor.
If you think about portrayals of people with disabilities on the screen, movies and television, chances are extremely high that the actor was not disabled. At least two recent projects have sparked this conversation including “The Upside” and “In the Dark”.

The latter series on the CW Network caused the National Federation of the Blind to launch their #LetUsPlayUs Campaign.

In this episode we learn why representation matters from:

Plus, “Blind Face” is that really a thing? I had to speak on it.

Consider this the beginning of RMM Radio’s exploration of Disability Representation in Media.

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Resources

Transcript

Show the transcript

TR:

What’s up RMMRadio Family?
It’s me, T.Reid, host and producer of this here podcast.
This is your place to hear stories and profiles of compelling people impacted by all degrees of vision loss and disability. And yes, occasionally I throw some of my own experiences in there pairing those words and music and sound design.

Today, I want to jump right into it. We have a lot to cover.
So…

Audio: Reid My Mind Radio Theme Music

Audio:
* Rain Man – Dustin Hoffman

TR:

Each of these clips, are from movies featuring a main protagonist with a disability.

Audio:
* Forrest Gump – Tom Hanks

Yet, each starring actor does not have a disability.

Audio:
* Ray – Jamie Foxx

TR:

It’s not a new issue

* Audio: The Rear Window

A scene from The Rear Window with Jimmy Stewart, in 1954

* Audio: Wait Until Dark

And Audrey Hepburn portraying a Blind woman in 1967’s Wait Until Dark.

Audio: “The Upside” trailer

TR:

Most recently, Kevin Hart and Brian Cranston star in The Upside.

Cranston, known most for his lead role in “Breaking Bad plays a wealthy quadriplegic who hires a former criminal, played by Hart, to be his caregiver.

With fewer than 2 percent of characters in movies being a person with a disability, well it’s understandable that the disability community took to social media to express their disapproval.

Cranston’s reply?

According to a BBC report he said;
“If I, as a straight, older person, and I’m wealthy, I’m very fortunate, does that mean I can’t play a person who is not wealthy? Does that
mean I can’t play a homosexual?”

In fairness, he does agree that there should be “more opportunities” for actors with disabilities.

I guess just not those that he’s slated to play

Audio: “In the Dark” trailer

TR:

In the Dark is the new television show on the CW Network that stars Perry Mattfeld as a blind woman who is the only witness to her friend’s murder.

Perry herself is not Blind.

The NFB, National Federation of the Blind, believes this is not acceptable. The organization which says they have 50 thousand members in all 50 states including DC and Puerto Rico, began a campaign called #LetUsPlayUs.

I reached out to NFB’s Director of Public Relations, Chris Danielsen, to learn a bit more on what sparked the protest.

CD:

We’ve been concerned for some time that there are not opportunities for and roles for Blind actors. I know we passed a resolution at our National Convention in 2018 on this topic and I think we had passed one even before that.

Fast forward a little bit to early 2019 and the CW Network began heavily promoting its new series “In the Dark”. CW was asked why a Blind actress was not cast in this role and they really made excuses for not casting a Blind actor in the lead role of Murphy in their show.

TR:

According to TheWarp.com:
Nicky Weinstock, an executive producer for the show said:
“We went about searching for a blind actor immediately, and looked allover”

That included 29 different organizations for the blind where he said they were hoping to find the lead actor.

NFB’s Chris Danielsen had this to say about that.

CD:

We were not one of those organizations by the way.
And then they kind of said but we do have a blind writer, and a Blind Consultant and we do have a another Blind actress in a supporting role

They made those sound like compensations for not having cast a Blind person in the lead role.

TR:

You have to wonder, what do they really know about what it really means to be Blind.
Especially when you hear that same CW Executive Nicky Weinstock describe Mattfield as accurately portraying a blind person based on the committment she demonstrated after acquiring a cane and using it around her apartment for weeks.

CD:

This could be really tone deaf publicity on their part, but it’s pretty typical of the behavior that we see from the entertainment industry. There have been literally dozens of films and television shows about Blind people and in none of them that we’ve been able to find, was a Blind person actually cast in a lead or recurring role.
CD:

We felt that this is the right time to really respond to what the CW has said and done but also to this type of behavior that is just recurrent in the entertainment industry. And for that reason we launched our Let Us Play Us Campaign.

[TR in conversation with CD:]

Tell me what is exactly the objective of #LetUsPlayUs?

CD:

The immediate objective is to have the CW reconsider its decision to cast a sighted person in the lead role.

Given that they have really sought in a very discouraging way to justify their decision not to cast a Blind actor in the role, we feel like the only way they can really make it right at this point is to simply re-cast and re-think the show.

TR:

The showed debuted on Thursday April 4, 2019.

It doesn’t look as though this demand is going to be met.

There is time however, to expand the conversation about representation.

CD:

We have found over the years that a lot of the portrayals of Blind people are very inaccurate and often even offensive.

We want to engage in a dialog with the entertainment industry and talk about why it is that Blind actors are not cast. Why there are such low expectations for Blind actors and performers. And how we can work together; the entertainment industry and the National Federation of the Blind to actually identify Blind actors, to develop their talent and to actually see them included in the future projects so that those projects have an authentic perspective on blindness.

TR:

Disability representation in media can be categorized in four groups of characters according to a white paper recently published by the Ford Foundation.

Disability Activist and Senior Fellow at the Ford Foundation, Judith E. Heumannn authored the paper titled; Road Map
for Inclusion Changing the Face of Disability in Media.

The four stereotypes:
* THE SUPER CRIP – think Daredevil
* THE VILLAIN -The James Bond Franchise is known for many.
* THE VICTIM
* The Innocent Fool

I’ll link to the report on this episode’s post over at ReidMyMind.com.

The show’s trailer, gives the initial impression that “In the Dark” may not be too interested in changing the paradigm.

Murphy, the main character is shown trying to hide under a glass table.

Audio: The above scene from the “In the Dark” trailer
In case you’re new here, Blind people know glass is transparent and they know how it feels.

And probably even more concerning, the trailer includes what appears to be the ol’ feel the face!
You know that all too popular scene in just about any movie or television show featuring someone who’s blind where the brilliant idea comes to the sighted person to have the Blind person feel their face so they could know what you look like.

Audio: “Hello”, Lionel Richie Music Video
— From the video, Music plays and a telephone rings…”Hello” says the Blind woman in the video.

TR:

Hey how are you doing? This is T.Reid from Reid My Mind Radio. May I speak to the creator of this music video please?

— From video: Lionel Richie sings “Hello”

TR:

Lionel?
Was this video your idea?

— From video: Lionel Richie sings “Hello Is it me you’re looking for?

TR:
Well yes, if you’re the creator of the video.

— From video: Lionel Richie sings “Cause I wonder where you are”

TR:

My brother, I’m in the future.

— From video: Lionel Richie sings “And I wonder what you do”

TR:
Well, I host a podcast, it’s sort of…

— From video: Lionel Richie sings “Are you somewhere feeling lonely”

TR:

Well now that you ask?

— From video: Lionel Richie sings “Is someone loving you”

TR

Hey bruh, that’s personal.

— From video: Lionel Richie sings as echo and fades out “Tell me…”
— Music continues…

TR:

Look man, on behalf of Blind people around the world who have been asked to feel somebodies face.
You know, that thing in your Hello video.

It’s 2019 I think we can end this stereotype.

It’s 2019 & the results are in, we’re over it!

— From video: Door shuts!

Blind woman says: ” I’ve wanted you to see it so many times, but I finally think it’s done.”

TR:

At least I guess we can be happy that in the actual scene from In the Dark, Murphy was resisting and even protested saying that’s something Blind people don’t do, but her friend insisted.

We later see it was needed to advance the plot. This was how she identified her friends body.

I personally would have suggested something like Microsoft Seeing AI which allows you to take a picture of someone and it will recognize them in future pics. But maybe that doesn’t work for the rest of the show.

But that’s just me. Everyone is different.

Not all Blind people use technology.

Like any other marginalized group, we don’t all act one way, we don’t think the same and we all have our own voices.

In fact, I tried to get some individuals with opposing opinions to share them on this episode but I didn’t get a response.

Not everyone believes this issue should garner as much attention from the NFB.

Some believe, the hiring of a Blind writer, consultant and additional cast member are steps in the right direction.
Therefore, demanding the network pull the show well that’s not a way to open a dialog.

Most of the discussion I thought was valuable, focused on strategy.
That’s always going to be a source of contention.

TR:

On April 2, 2019, the NFB protested outside of the CBS offices, owners of the CW Network, in New York City. .

CD:

We had well over 100 Blind people from five different states, at least, participating in the protest. We protested for two hours

We told the CW Executives who bothered to look out the window or listen, we don’t know for sure that any did. We told them that Blind face is just as unacceptable as Black face for example.

TR:

In addition to the protesting outside of CBS, NFB and others have taken to social media including Facebook and Twitter.

[TR in conversation with CD:]

So Chris let’s talk about something because I was going to go one way but now I have to switch it up. The social media campaign, and I’m gathering that the future consists of continuing with the hashtag… (#LetUsPlayUs). One of the things that tends to happen around this topic is that comparison to people of color. I’ve seen things where people are saying “Oh you don’t want white people playing other nationalities, ethnicities etc. Even though that happens and it still happens today.

CD:

Sure, sure.

[TR in conversation with CD:]

I think that’s almost like, defeating the purpose, but then also the one you just mentioned which was the comparison of Blind face to Black face. What is the NFB’s position on that because in social media I notice that the official NFB account kind of stayed away from that. And I was wondering if that was on purpose or if that was just a coincidence.

CD:

Well to be fair that comparison came up in the protest. It wasn’t intended so much as a comparison as kind of a play on words I think when it was originated.

We are a diverse organization. We have a makeup of membership that is racially diverse, ethnically diverse different sexual orientations and all of that. We respect all of that, all of that diversity. That said, we’re not focused so much on trying to make that comparison. That said we do see some commonality in the idea that we don’t, we don’t allow people anymore to sort of appropriate and sort of pose as others. It does still happen, but there are areas where it doesn’t happen anymore and doesn’t happen as much as it used to . But so far disability isn’t one of those areas.

There wouldn’t even be a thought at this point of having, really seriously, of having a man play a woman. Back in Shakespeare’s time it was common for woman to be played by men, typically young boys. You did have situations where it was considered appropriate to put on black makeup. So why are those things largely gone and why is it still appropriate and considered the norm in fact to have non-disabled people play the role of people with disabilities. It’s the norm and it’s rewarded . Think about how often we’ve seen Oscars awarded to people for doing this; Dustin Hoffman, Al Pacino Daniel Day Lewis.

Audio: “And the winner is…” followed by each of the above winning Oscars.

TR:

Chris is right about that last part. Let’s take a look at some others who won in roles of someone with a disability.

Jack Nicholson, John Voight, Tom hanks, Ann Bancroft and Patty Duke both won for the Miracle Worker playing Annie Sullivan and Hellen Keller respectively.

And oh yes, my bad…
Audio: Jamie Foxx winning for Ray.

Does anything stand out to you about that list?
I’ll give you a second.

Audio: Jeopardy music

All but 1 are white.

Which brings me back to this idea of Blind Face.

That’s a made up term, it doesn’t have the history that is tied to how Black face was systematically used to dehumanize an entire race of people.

And it’s not gone.
.
Audio: Multiple news segments regarding Virginia Governor Ralph Northam & Black Face.

TR:
Even outside of medical schools in the 80’s.

Audio for below Two college girls suspended for Black Face
College campus frat parties still have it… sometimes they use different names but it’s the same. Parties where they dress like rappers. There was even a so called Gangster Halloween costume. And don’t get me started on other examples of appropriation.

Audio: About Redskins

Does it mean that those who used the term Blind face have the same intent?
I don’t believe that.

But what can we expect when this history isn’t taught, when people prefer to be color blind and refuse to have these conversations. Especially in this world of social media and the re-tweet.

There are valid and strong feelings in all marginalized groups. Something we all need to take into consideration.

CD:

We’re not Oscar bait. We’re people with real lives. We don’t exist so that actors can play us and feel good about themselves because they’ve supposedly experienced what we experience. Which of course they haven’t. That’s what’s really offensive.

I’m interested in your perspective too because you know we don’t want to make an offensive comparison. We want to be careful about that and at the same time the point that we’re trying to make is that there are situations where it’s no longer appropriate and the industry seems to understand that it’s inappropriate to have certain kinds of portrayals. Why is blindness and disability the exception to that.

[TR in conversation with CD:]

That’s where the difference of opinion definitely comes into play and I think the perspectives where you say that the industry understands that; I don’t think most people of color would say that the industry reflects their real lives.

CD:

Sure.

TR:

Remember those 4 stereotypes of disability in media?
* THE SUPER CRIP
* THE VILLAIN
* THE VICTIM
* The Innocent Fool

Black stereotypes have existed and continue to make up what we see in film today. Slightly modified versions of, well take your pick:
Sambo or the lazy happy go lucky Negro
Mandingo – the over sexed, big Black man
Mammy, subservient Black woman who’s nurturing ways usually focus on the white children
Jessabelle – over sexualized Black woman

So many films and television shows to this very day still have some version of these stereotypes.

In fact, as the years went by new stereotypes came into existence. The Welfare Queen, the criminal or thug and of course some of your favorite movies might star the magical Negro. who’s there to mysteriously make the white persons dreams come true.

Stereotypes also exist for Latinex, Asians and just think about the context of when you’d see a Native American on the screen.

So for those of us who are aware of this history in culture, hearing what can sound like an implication it no longer exists, well that can feel like all of that struggle and history is being erased.

With that said, let me make it as clear as I can, disability experiences deserve to be on the screen as much as any other human experience.

[TR in conversation with CD:]

You don’t have to make these comparisons.

CD:
Mm , hmm!

[TR in conversation with CD:]

There are comparisons that can be made. And the thing that I like to say is we can compare apples and oranges, they are both fruit…

CD:

Yeh, yeh, yeh. (In agreement)

[TR in conversation with CD:]
… but they are so different.

CD:

Yeh, certainly the intent is different. I would say that some portrayals of blindness have been specifically meant to put Blind people down, but some haven’t. There just profoundly mis-informed. So I totally agree with you, then in that sense it’s not an appropriate comparison. I think that’s why we have stayed away from the comparison on social media. We definitely don’t want to minimize the real pain that, that has caused, but sometimes the paper trail of disability does cause pain as well. Not the same kind, but the misconceptions out there are harmful to people with disabilities and they do trickle through.

TR:

Now we’re getting there!

Probably the strongest argument for increasing representation and the one that lots of people with disabilities feel on a regular basis.

Kristen Lopez:

There is so much mis-information out there about disability. Films are a gateway for us to learn about people and cultures different from ourselves.

TR:

This is Film Critic Kristen Lopez. She also writes reviews on new and classic films.
She has a much cooler way of saying it though.

Kristen Lopez:

Freelance Pop Culture Essayist, who writes a lot about representation in cinema, specifically gender and disability.

I’ve had so many embarrassing encounters with people. Unbreakable being a great example.

People who’ve seen the movie and they feel like that’s some sort of gateway into relating to me and it’s completely wrong.

TR:

Unbreakable, is the film starring Bruce Willis and Samuel Jackson whose character is a wheel chair user and has Brittle Bone Disorder, as does Kristen.

Kristen Lopez:

I refused to watch it because I didn’t think it was actually going to be a movie that represented me. And for a year solid when people heard I had Brittle Bone Disorder they were like oh have you seen Unbreakable? it’s great, you’d love it. And I was like, why would I love it. And they’re like because it’s about you.

I’m not a super hero or super villain

I was very indignant; no that’s not me. I actually never saw Unbreakable until two years ago and I thought it was fine. It didn’t offend me.

TR:

Dr. Adam Pottle, is an author and screenwriter in Saskatoon, Canada with
4 published books and two produced plays.

He himself is deaf.

He’s experienced firsthand how misperceptions and stereotypes find their way into common belief. Like this idea that Deaf people carry on conversations by reading lips.

As he explained to me via email.

(Note the change in sound when I am reading Adam’s words.)

Adam Pottle:

It’s not enough. Reading lips is fucking exhausting, and we don’t always get things right. We need visual confirmation, whether through Sign language or captioning.

I was bullied in school about my ability to read lips. Older kids would point to their lips and mouth out, “Hey deaf boy. Can you read this? Fuck you.”

TR:

The argument for representation is less about personal offense and more about the impact images have on society.

Kristen Lopez:

Movies have sold disability as this grand mystery. We are this enigma that unless the audience knows how to handle us their not going to be able to interact with us and I think that that’s very wrong.

It’s just important to get rid of the little things. We’re talking now about a time where politically people are talking about who’s entitled to what and who needs what. Do we need healthcare? Do we need the ADA at all?

I think a lot of that has to do with movies which fuel the dialectic, fuel the culture and presented disabled people which is entitled, spoiled and massively wealthy and doomed to die relatively young. The movies have sold us as a burden on society.

TR:

Interestingly enough, I read a review of The Kevin Hart and Brian Cranston film, The Upside titled;
“The Upside” is a good representation of life with disabilities.

I don’t know if this writer is disabled. It wasn’t mentioned.
But disability isn’t one size fits all. We can’t forget the intersections;
Gender, sexuality, …

And as Film Critic Kristen Lopez explains, it’s complicated.

Kristen Lopez:

As an adult, I’ve slowly grown to be like I do identify as white, but that’s only because my skin pigment is white. So I know most people, I tell them my last name is Lopez and they look at me and they’re like what the hell are you talking about. I don’t identify as Hispanic, but I do identify as Latino just because my father is.

Now as an adult as I’ve seen how white disabled narratives are it does bother me on that level as well because you know there are no movies with disabled people of color. There’s barely any movies about disabled women but disabled people of color is completely absent in these movies. That doesn’t even factor into people’s discussion of disability because they’ve never seen it.

TR:

Representation is more than who is on screen. It’s about who is producing directing, writing and in general influencing the overall message and feel of
the project.

Adam wants to add his voice to the conversation. Currently trying to make his way into the business. He’s an aspiring screenwriter with three horror scripts under his belt. He has a PhD in English literature, for which he studied how Deafness and disability are represented in Canadian literature.

Adam Pottle:

Because my scripts all feature Deaf and disabled characters in lead and supporting roles, it’s a bit difficult to get them produced, even if they’re well-received. I have one script, a horror story, that’s been selected by six different festivals that I hope to have made one day.

TR:

When it comes to inclusion of any form, the first reasons also known as excuses is often we can’t find “them”.

The CW, couldn’t find a Blind lead. Silicon Valley can’t find people of color in STEM, Corporations can’t find women executives.

Well, I have less than 600 Twitter followers and A Blind Black Man in the Poconos, Pennsylvania found a deaf white writer in Saskatoon, Canada.

(Laughing…)

So in the words of Mr. Biz Markie:
Audio: “C’mon, don’t give me that” from “Just A Friend”, BizMarkie

Adam Pottle:

The problem is systemic. The film industry is ableist to its core. It prefer stereotypical narratives. It doesn’t understand that Deaf and disabled people have rich lives with their own stories to tell. It prefers to look at us with pity and scorn. Recent examples include Me Before You, The Upside, Stronger, The Theory of Everything…

Notice these films all feature white actors, too. We don’t see Deaf and disabled Black characters, or Indigenous characters, or Asian characters. We don’t see LGBTQ2+ disabled characters.

Deaf and disabled people must be allowed to tell their own stories, from the ground up, as writers, directors, editors, photographers, producers, costume designers, and of course actors.

TR:

So #LetUsPlayUs, I’m with that. But can we let disability drive the conversation. Call out the many valuable reasons for representation and inclusion and rather than using the history of others as catch phrases use the lessons and honor those who paved the way.

I think we can agree the more marginalized you are in the society the lower your chances of seeing a real representation of yourself. Go ahead and think about the various marginalized communities. As you filter and each segment appears to have less and less representation not only in society but also on screen.

Just imagine if rather than re-booting movies and shows from the past, Hollywood start out by seeking multi marginalized Non Cisgender women of color with a story to tell.

As Adam Pottle points out.

Adam Pottle:

the first producer or major studio to truly recognize the potential of disabled filmmakers and disabled actors will experience a tremendous cultural and financial windfall. There are over a billion disabled people worldwide. We want to see ourselves onscreen. When we do that, disabled people will come out in droves, leading to changes in theatre spaces and screening options. In short, disabled people will change the way the world watches movies.

TR:

We’ve literally already started that process; Caption and Audio Description have already begun seeping into the mainstream.

So let’s continue.

By the way, the reviews of “In the Dark” are in & mixed. I started watching the premiere via the app but there’s no Audio Description. I don’t believe it’s offered by the network. One review had this to say:

“One thing In the Dark does get right is that the blind characters are completely in control. There’s a murder mystery at the center of it, but the real thrill is watching Murphy live such an imperfect, independent life. She goes out; she smokes cigarettes; she has sex—these are things we rarely see blind
characters do onscreen.

TR:

Seriously? Yawl need to go to a convention!

Apparently 80 percent of the writing staff is made up of women and several LGBTQ+ and blind writers and led by a female
showrunner.

And Calle Walton, the young lady who is Blind and part of the cast, said:

“When I lost my sight, I was devastated. I had to throw my acting dreams away. I thought there was no way I could become an actress now that I was blind. This experience has just been amazing:
getting me back on my feet, getting me back into my love for acting. I hope this really opens up the field and it makes it so blind people are getting looked at as characters that can play roles, instead of sighted people playing roles as blind people.”

Same goal, different strategy!

Shout out to :
Chris Danielsen , Director of Public Relations for the National Federation of the Blind.
You can find out more about them at NFB.org. And #LetUsPlayUs on social media including Twitter and Facebook.

Freelance Pop Culture Essayist, Kristen Lopez. You can find her work on line where she’s written for Rotten Tomatoes, Forbes.com and other outlets.
She has two podcasts;
Ticklish Business – all about classic movies before 1970
Citizen Dame – she’s joined by three other female film critics talking all about the latest entertainment news from a feminist lens
You can find Kristen on Twitter
@Journeys_Film

Dr. Adam Pottle is @AddyPottle on Twitter (Also spelled out)
His website is www.adampottle.com
He has a new book out now title Voice.
Where he explores the crucial role deafness has played in the growth of his imagination, and in doing so presents a unique perspective on
a writer’s development.

I think it’s clear that there’s a lot tied up in this topic of representation.

Consider this episode as just the opening of this discussion here on Reid My Mind Radio.

I hope to bring you more in the future which will include highlighting those behind the scenes as well as in front. I got my eye on some talented peeps.

You know there’s only one way to be sure you don’t miss an episode…

Subscribe!
Apple Podcast, Spotify, Google Podcast, Stitcher, Tune In Radio or wherever you get podcasts.

You can always send me feedback or recommend a guest or topic all you have to do is hollaback!

We have the comments section on the blog, ReidMyMind.com.
The email; ReidMyMindRadio@gmail.com
The Reid My Mind Radio Feedback Line where you can leave a voice mail: 1 570-798-7343

I would really love voice messages that I can share on the podcast. If you don’t want to call, you can grab your smart phone and record a voice memo and email the finished recording to ReidMyMindRadio@gmail.com.

I’d love to hear and share the voices of those who are listening. If you want to send a message but don’t want it shared just say so and it’s all good.

I appreciate you listening and if you liked what you heard please rate and even review the show via Apple Podcast. And please, tell a friend to listen. Spread the love, man!

You can always visit www.ReidMyMind.com, that’s R to the E I D like my last name!

Audio: Reid My Mind Radio Outro

Peace!

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The Art of Access with Cheryl Green

Wednesday, March 27th, 2019

The camera catches Cheryl & Cynthia from a jaunty angle. Cynthia holds a beautiful plaque for Superfest Disability Justice Award for New Day Films’ Who Am I To Stop It. The plaque has text, Braille, and raised lettering. Cynthia smiles at Cheryl as she burst into excited laughter at the passer-by who shouted “Superfest, whoo!” she holds a bouquet of sunflowers by her face.

Meet Cheryl Green, a filmmaker focusing on disability identity and culture and making media accessible.

She began making films after acquiring disabilities from brain injury. Her media combine personal narrative and activism to create
dynamic tools that critically challenge misconceptions and stereotypes of disability, celebrate pride in disability experiences, and amplify marginalized
voices. Cheryl works to create a platform for people to use the arts to increase connectedness and to promote dialogue and change within the larger community.

Hear why Cheryl views Captions and Audio Description as an artistic part of the film/media and a means of achieving disability justice and equity.

Her latest film Who Am I To Stop it is a documentary on isolation, art, and transformation after brain injury.

She’s a fellow Association of Independence in Radio New Voice Scholar… hit play below and hear how that worked out for yours truly!

Listen

Resources

Transcript

Show the transcript

TR:

Audio: “Fellow Americans, it’s with the utmost pride and sincerity that I present this recording …” PSA, Jay Z (Just Blaze)
— Beat rides underneath…

TR:

Welcome back to another episode of Reid My Mind Radio.

Audio: “Allow me to reintroduce myself, my name is…” PSA, Jay Z

TR:

T.R E I D, Moving podcasts by the GB!

. I’m your host and producer of this podcast.
Bringing you stories and profiles of compelling people impacted by all degrees of vision loss and disability. Plus, I occasionally explore my own experience around becoming blind as an adult. I try to present that in my own way blending my words with audio and sound design.

Before we get into it, you know movin’

Audio: “Moving’ doin’ it you know” Sex machine, James Brown

I want to send a shout out to those of you who subscribe to the podcast. I truly appreciate you. That simple act of hitting that subscribe button especially if you subscribe via Apple Podcast, increases the chances for others to discover the show.

Audio: Music stops…

I don’t know why, that’s just what they do!..

Music re-starts…

One of my main goals of producing this show is to hopefully reach those who are new to the experience of blindness, low vision, vision loss I think the people across the Atlantic refer to it as sight loss. Maybe you are recently experiencing some form of disability. I think there’s something for you here.

It’s a shift in attitude that is not based on changing just to change but it’s based on experience. Experience from people who have been where you are right now and worked their way through it. People who accepted what they were given, people who didn’t feel the need to overcome but rather embrace and continue.

Hmmm!

If you are new to disability let me send you a very warm welcome. A virtual hug going out to you. I’m referring to anyone impacted by disability. Whether you are Blind or Low Vision or maybe you are the spouse, parent or child or even the friend of… we got something for you right chere. And yes, I said right chere!

So with all of that said, I hope you are ready because I want to introduce you to a new friend of mine who brings a different perspective to how we view accessible media content.

I just hyped myself up and I hope you can feel it too!

Let’s go!

Audio: Reid My Mind Radio Intro

# Cheryl Intro

My name is Cheryl Green. I am an independent documentary producer and audio producer.

TR:

She’s also a strong advocate and maker of accessible media content including subtitles, captions and audio description.

As an independent film maker, we see that’s just one of the unique perspectives she brings to her work.

# On Disability

[TR in conversation with CG:]
What is your relationship with disability?

CG:

I like that question. It’s so much nice and more nuanced then what’s your disability and what’s your diagnosis because disability experience is so much more than medical diagnosis.

One of my relationships to disability is political. I’m always looking at cultural and political things from a disability rights and disability justice platform. Another relationship is that almost all of my friends and significant people in my life are disabled people. And then because I like things in three’s; my relationship to disability is that I have multiple invisible disabilities, but I’m not sure that invisible makes sense as a term. Non-apparent or easy to hide. Some of them are acquired and some are stuff that I was born with that has shown up later in life from kind of living as a knucklehead and now it’s coming up. Laughs.

[TR in conversation with CG:]
Laughs…

Oh boy there’s a lot of stories right there. In that one statement, living as a knucklehead. Oh boy!

CG:

Laughing…

But it’s funny because that’s the one that I was born with. It’s a connective tissue disorder and for me it’s very mild , but I have dislocations and I have chronic pain chronic tendonitis, ligaments that are over stretched. I was born with it. The knucklehead part is that I over did it as an athlete through most of my life. So just chronic injuries and stuff but it’s nothing as fun and exciting as you know…what did she do?

[TR in conversation with CG:]
Laughs…

# Captioning

## TR:

Cheryl also experienced a Traumatic Brain Injury that she says is indirectly related to the complications of the connective tissue disorder.

Our conversation however, focused on accessible media content. Beginning first with captioning.

Now I know most of you listening are way smarter than me but I needed a clarification between sub titles and captions.

CG:

Subtitles are just a typed out version of what people are saying. It’s just words on the screen as the words are being spoken. Captions also provide descriptions of the sounds music, whether there’s traffic going by, dogs barking. When possible you can add in a description like whispering or tense voice . There’s all sorts of descriptors you can add in there.
They should identify who’s speaking and when the speaker switches.

The thing about subtitles is that they actually assume that it’s only hearing audiences watching a film that has subtitles because there’s no indication when the speakers change. And if you’re looking at a sunrise and two people are off screen talking and you just see sentence after sentence after sentence there’s actually no way to know who’s talking and when the speaker’s switching. And to me I don’t see how you can follow what’s happening if you don’t know when the different people are talking.

TR:

Maybe you can’t tell yet, but this subject has a special place in her heart. It’s not just about words on the screen.

CG:

I love captioning more than anything else that I do. One thing that I love about captioning is that it is so precise, detailed, tedious and repetitive. That just works for me.

I look at captioning as part of the art. I do not think of it as a piece of accessibility that you have to add or want to add at the end. To me it’s artistic. Translating things. I can’t literally caption every single sound that is in a piece of art. That doesn’t make sense it’s not even possible. So I have to make creative decisions based on what I think it most important from the creator’s perspective and what I think audiences will want to get from something. I don’t want to be like “Speaks slowly, whispers quietly, birds chirp” I want it to be rich and lush especially when the film or the show is rich and lush. I feel like it’s my duty to make the captions as interesting and beautiful and artistic as the film is.

For me captioning is something that I can do in a move towards justice and equity. It is access to information. Whether that’s the news or pure entertainment or something that’s informational or somethings that’s on a social issue. it’s about equity. It’s not just about meeting compliance. I love doing it and I love what it can bring to people and how it can include more people in media and in conversations.

# Audio Description

TR:
Captioning eventually led Cheryl to find an additional way to make media more inclusive and engaging.

CG:

Through one more piece of access that’s very artistic , very subjective and hopefully integrate it into the art itself.

TR:

Maybe that’s not the way you’re used to thinking about or even hearing Audio Description discussed. . but that’s what she’s talking about.

Cheryl recalls first thinking about AD after providing captions for a client and then reading their Facebook post which read;
CG:
“Hey my video has captions now it’s accessible to everyone!”

## TR:

This just wasn’t true!

CG:

You have to be able to read quite well and quite quickly to follow captions. No, captions are not accessible to all people because not everybody can read in whatever given language there in but also I looked at that and thought well these captions are just visible on screen and if you’re not
looking at the captions there not there.

TR:

There’s all sorts of benefits gained from captioning and Audio description. And not just for the consumer.

CG:

I think it takes a lot to acknowledge you know what, I made a great film here but I recognize that not everybody can access it because of the way I made it.

There’s a big piece of acknowledging this film is not complete until more people can come in.

From a capitalistic sense if you have great content and you want an audience why not make your content available to a bigger audience. It just makes sense.

But I hate capitalism so I do also value more of a disability justice and social justice and equity lens to say people need to be participating in civic engagement, arts, culture, entertainment and all of it. And What can I do to make that more accessible and available to more people.

# Film

TR:

She’s answering that question from multiple points of view. That’s a Caption & Audio Description provider and as a film maker.

Following the brain injury which impacted her ability to cook as well as organize she did what anyone would do;

CG:

I made a comedy film about it and it took off.

Audio: “Cooking with Brain Injury”

TR:
Okay, maybe that’s not what everyone does.

That first film was called “Cooking with Brain Injury”

A short film looking at daily struggles of life after traumatic brain injury with dark, honest humor.

CG:

I sold many copies of it. I’ve taken it to state and national speech therapy conferences. I’ve done Continuing Ed. trainings around it and it was totally impairment based. It was a window into my world.

TR:

After other films around brain injury, she decided it was time to close that window.

Audio: window closing

CG:

I realized I need to get out of the spotlight and get behind the camera and do more. Over the years my films have become much less about impairment and much more about disability experience, marginalization, self-empowerment, autonomy and decision making. I do a lot of cross disability work now. It was all brain injuries in the beginning but that didn’t hold my attention because it can be so impairment focused.

TR:

Cheryl’s first film didn’t start out with Captions or Audio Description.

CG:

I didn’t know about access at all when I started, but as soon as I found out I could copy down the spoken words and put them up on the screen; it didn’t look good , but those words were on the screen. And I loved it!
Then I got educated about Captioning software

TR:
She became quite serious about the craft.

CG:

I read up on the FCC guidelines. I love it when the FCC issues new guidelines new recommendations. I’m there with those white papers reading them to make things the best that I can.

I have seen some people criticize the FCC guidelines for example saying, “I don’t care what the guidelines are I want to know what Deaf people want.”

Number one, Captions are not just for Deaf people. There’s a lot of different kind of people who want and need Captions.

Number two, there were Caption users on the committee that wrote the FCC guidelines.

They’re really good guidelines . They make for beautiful Captions They included actual consumers actual Caption users in their creation and that’s another reason I really value them.

[TR in conversation with CG:]

You really are a Caption nerd! Laughs…

CG:

Laughs… I’m such a nerd!

TR:

Deep passion for a given subject. That’s what separates the nerds from the rest.

In this case, the passion is all about inclusion, social justice and equity.

CG:

I have a lot of clients a lot of filmmakers who come to me for captioning and they have a lot of complaints about the way captions look. Or they make requests that I find unreasonable. They’re unreasonable because they are centering that hearing filmmaker who doesn’t actually know what Captions are or can’t really articulate what Captions are for. And I say, your aesthetics around Captions are not what I’m working with. I am working to serve Caption users and I have very explicit reasons why I make the choices that I make. I’ll negotiate with you. I’ll talk with you on the phone but you have to understand that Caption users come firsthand I’m not interested in your aesthetic choices around the Captions.

If you want access you would make captions the most accessible that I know how to make. I get into fights with people all of the time and it’s so much fun!

[TR in conversation with CG:]
Laughs!

TR:

Don’t worry, know one’s out here recklessly out starting fights. This is all about advocating for the user.

CG:

IF content creators always included Caption users and Audio Description users in their minds and their target audience then it wouldn’t be a thing. But it’s specifically because people whether it’s willfully or they just have somehow remained oblivious through their careers, they don’t even consider people who would benefit from the access as part of their target audience. That’s why I harp on it . I would love to get to a place where it’s just we have to do color correction, we have to do sound sweetening, we have to trim off 35 seconds on this, we have to add the Audio Description. Boom, boom,boom boomboom!

When it’s just part of the practice, yeh, I won’t have to be so political and I won’t enjoy fighting with people. But until we’re at that day for whatever reason I enjoy being super fired up and political about it.

[TR in conversation with CG:]

The order in which you laid that out where you said ok, they have to do some color correction, do this and let’s add Audio Description. I want that thought about in the writing because to me the end result would be better. I still think that when it comes to things like Audio Description and Captions, there’s a charity model that starts off the process.. Let’s do this because you know (the following said mockingly) it’s a good thing to do for the people. Let’s give this to them so they can be happy.

If they thought about it has what you said which is it’s going to make our film better Not just because more people are seeing it but it actually may do something better to the film Meaning, if you think about Audio Description at the time of writing it at the time of producing that film chances are you’re going to think of something that’s going to enhance it.

CG:

Oh, hundred percent! Oh my gosh, I just got interviewed yesterday they were like what’s the one take home message that you 3want filmmakers to have.

I say, you put access in your budget in the pre-production phase. You put it in your budget so there’s no “oh we didn’t know”. And then you always consider it. You don’t just get the supplementary footage or the daily footage.

There’s kind of this idea that you find something beautiful you hold the camera on it for at least 10 seconds, get a good shot. You know what? Do it for 40 seconds because then when we’re editing there’s the opportunity to say let’s stretch out this shot a little more because then we can put the Audio Description in.

I am totally with you that if you are considering this stuff from the beginning you’re going to film it differently. You’re going to edit it differently. It is going to be better.

TR:

This is coming from an experienced film maker.

CG:

When I filmed my documentary and I was still new to this, I told my Director of Photography, “Don’t ever do extreme close ups. Ever” I don’t want any extreme close ups. Even with the mouth off to the side because we are going to have captions in every version of this film ever shown. I told the Editor, “I need you to put in spots, stretched out spots where Audio Description can come in.”

Now unfortunately I wasn’t trained in Audio Description back then, and so we didn’t nail that as well. We didn’t have enough stretched out spaces and the Audio Description isn’t as lush as it could be.

We did some re-editing and we added in more space. I re-wrote the script, the original Audio Description script, hired other voices to do it. As you watch my film progress over time the same film different versions Audio Description becomes more lush, more engaging more honest because now I understand Audio Description a little better. So there were things that were a little vague in the description.

TR:

For many such re-writes would feel like a chore.

Like her latest production, “Who AM I to Stop it”, a documentary film on isolation, art, and transformation after brain injury, was selected for Superfest International Disability Film Festival.

The longest running disability film festival in the world – co-hosted by San Francisco’s Lighthouse and the
Longmore Institute on Disability at San Francisco State.

Superfest is one of the few festivals worldwide that is accessible to disabled filmgoers of all kinds.  
CG:

I got an email from the director, hey we love your film it got in, it got an award, but we had to stop during the screening a few times because our Blind jurors felt left out by a joke in the film. It wasn’t described well enough. She said I’m sorry I don’t mean to be negative but are you at all available to re-record.

TR:

I suppose it’s viewing this process as art that produces Cheryl’s response.

CG:

Negative, this is the biggest gift in the world are you kidding me let’s go.

I rewrote several parts but I specifically rewrote the part that people felt left out by. My Blind Audio description teacher helped point out some spots where she still felt a little bit excluded or maybe even confused about what was happening. It’s just more descriptive. That’s how art should be. As you learn and develop your skills it gets more wonderful.

Audio: Basic Able

TR:

Wonderful, like the time she described an improvised dance segment for a video podcast. It featured Antoine Hunter

CG:

He is a really phenomenal person. He’s a dancer, choreographer and healing artist. He teaches dance. He’s marvelous. He’s Deaf and he’s the Artistic Director I think, of the Real Urban Jazz dance Company.

I’ve never done dance before. It was so fun and it was so exciting to try and get the dance moves and match them. And because he’s Deaf he incorporates some sign into the way he dances.

I’m not fluent at all, but I’m familiar with Sign language and I’m familiar with the role that facial expression plays in the grammar and expression of Sign language. So I was able to make references to his hand gestures as being Sign and references to his facial expressions.

I think I said his facial expressions mirror the expansiveness of his bodies motion.

Audio: from podcast if available…

TR:

Hopefully, by now, you too should at least start to see the art. It’s the familiarity with the culture that enables Cheryl to recognize such detail.

CG:

Everything that I do has something about disability or Deaf culture in it. I engage with it seven days a week. Whether I’m making something or reading or watching something. I try to immerse myself in the cultural aspects of Deafness and Disability. That brings a more lush Audio Description

TR:

That level of detail and equity goes as far as seeking input from those being described.

CG:

I sent Antoine the script because it wasn’t going to be in the captions for him to read. He really liked it and he corrected one part that he didn’t like. It didn’t feel fair to him and he gave me words that not only feel more fair to him, but were more beautiful than the words I had chosen. It was so collaborative and so beautiful.

When I’m describing what somebody’s body looks like or how it moves I send them my script. I ask them what they think about how I wrote it. or I tell them I’m going to audio describe this please tell me how you want time to describe what you look like. Sometimes people will send me a description that’s actually not very visual.

[TR in conversation with CG:]
Like what?

CG:

Like when I say how do you want me to describe how you’re moving? And the response is a man with Cerebral Palsy. That doesn’t give me a sense of how you move, but I asked and you answered. And I respect your answer. But it is tricky because the point of audio description is to give people a flavor of the visuals and man with Cerebral Palsy that’s not very visual is it?

[TR in conversation with CG:]
No, not at all.

CG:

If it’s your content and I’m describing you and that’s all you give me ok, that’s what I’ll use.

When it’s my content I’ll use their words as the starting point and expand to make it more descriptive and more visual oriented.

[TR in conversation with CG:]

Give me an idea of the types of things that you would include in a description of someone.

CG:

I try to always describe something that relates to race or ethnicity. If I know how the person identifies then I can use those terms. If I don’t then I might be more descriptive. for instance, I describe myself as a white woman, which is kind of descriptive but not really because my skin tone is darker than any of my white friends. I’m the darkest person I know in my circle of white friends so it’s not super descriptive to say that I’m white. But it wouldn’t be useful to say I’m a brown woman because I’m white. I just have kind of light brown skin. If I don’t know their ethnicity I might say someone with a dark skin tone, someone with a fair skin tone. Sometimes I’ll defer to hair. A woman with bright red hair.. She’s probably white if she has bright red hair. now not necessarily of course.

[TR in conversation with CG:]

(Laughs…) Now-a-days!

CG:
There are different reasons why someone would have red hair regardless of their ethnicity.

[TR in conversation with CG:]

What would make you choose their hair and what would make you include that in the description. I wonder why would they say that? Why did they now tell me that this person is a Black person or whatever. And I’m like hmm, let me see if this is going to be really necessary to the story line.
CG:

Yeh!
[TR in conversation with CG:]

Sometimes it is and sometimes it isn’t. And it leaves me wondering why they made that choice and why they didn’t describe the white person.

CG:

Ok, get ready!

[TR in conversation with CG:]
Yeh, ok! (Laughs.)

CG:

Oh my! I cannot tell you how with you I am. I’m going to describe something if it feels relevant to the story or for political reasons.

Just end my career now if I ever put something out there where I say the black person and the person meaning white. I don’t know if I would ever recover from my remorse.

I don’t do, a wheel chair user and a person. Huh! No! If there’s a wheelchair user and there’s someone else standing. One person sitting in a wheel chair and one person standing. I make political choices If one person’s race or ethnicity or nationality becomes relevant to the story, I am going to make a point to name everybody’s so that I’m not singling one person out as the other or the weirdo or the outsider.

There is no way that someone is ethnic and some other person is not ethnic. I just cannot even wrap my head around … I don’t even know what ethnic food means, what on earth, what? (Said with a lot of annoyance!)

What food doesn’t come from a culture? What? (Said exasperatingly)

No, I will name them all or I will name nobody. And it really depends on the content creator, what they’re going for, how much time there is and yes is it relevant. Is it going to make a difference to the story for me to know something about the ethnicities of the people involved and is there time to get that in there. And if I can’t describe them all then I can’t describe any. or sometimes I will tell somebody, you need to stretch out that first scene because I have got to get that description in there. I have to!

TR:

Movies, television are often a reflection of society. It’s not surprising that the politics of the world impacts the way we think about and create access to content.

There are many who believe the best approach is to ignore race or ethnicity all together. As Cheryl points out, the results don’t lead to equality.

CG:

I think when Audio Describers are shy, oh I don’t’ want to say those words, as an Audio Describer your comfort and discomfort are not supposed to be part of this. You’re censoring it for the viewers.

You know I was really moved by your episodes around Black panther. There’s the access piece, but also one of the ways we white wash is to pretend like white people are neutral and just people. And so whatever we think is important is what’s important. And yeh, they had some cool costumes in Black panther, but ok, cool costumes whatever. That’s not fair. It’s so beyond not fair, it really is a show of white supremacy.

[TR in conversation with CG:]
Mm Hmm! (In agreement)

CG:

To neutralize overt displays of culture that are not white, you erase them, you ignore them. That is white supremacy. And it’s not ok.

If the film maker did not erase culture then the Audio Describer or Captioner really should not erase culture as well.

[TR in conversation with CG:]
Absolutely!

CG:

Some people feel like it’s just the detail, no. We’re talking about humanity and we’re talking about dehumanizing people. Willfully dehumanizing people when we leave stuff out

TR:

Cheryl says the same occurs in captions.

Not only is she creating films, accessible content through subtitles, captions and audio description, Cheryl produces the podcast Pigeonhole.

As described on Apple Podcast:

Pigeonhole challenges the stereotypes that disabled people are all white, straight, middle class people in search of a cure for their bodies and minds
the way mainstream media would make it seem. Made by from disability community, and centering disabled people as audience, Pigeonhole interrogates the
assumptions and biases we hold about disability and embraces all parts of people’s identities. We uplift disability culture, celebrate identity, and break
out of the narrow pigeonholes people attempt to stuff us in.

She’s a fellow recipient of the New Voice Scholarship warded by Association of Independence in Radio.

Receiving that scholarship puts us both in a very exclusive group of some of the best audio makers currently making radio and podcasts.

Audio: Microphone and other equipment collapsing during my conversation with Cheryl.

[TR in conversation with CG:]

We are having operating difficulties, please stand by

TR:

Well, maybe not all of us!

You can find Cheryl online at WhoAmIToStopIt.com She tweets under that same name, which again is her latest production.

Her films are available through New Day Film.com.

Checkout Cheryl’s podcast Pigeonhole – that’s P I G E O N H O L E. I especially like the episode titled “A nap and a bird.” It’s a short well told story that says a lot.

# Close

Audio: “As we proceed”

We’re continuing to advance our ongoing conversation around Audio Description and content access in general.

Considering captions & AD as art? Why shouldn’t it be. It’s the written word that has some pretty strict requirements including the time constraints and a need to quickly convey a message. We’re talking about talented writers and voice actors/narrators.

Let’s spread this way of thinking about accessible content.

Let’s push for content creators like Cheryl whether independent or in the major studios to see it as a tool to improve their storytelling. Then maybe we’ll see it become a part of the pre-production and be more of a reflection of the film’s conceived vision.

Looking at content access through a social justice lens feels like it leads closer to inclusion.

A big shout out to Cheryl Green! I enjoy speaking with her and appreciate her perspective. I guess I’ll go ahead and put this right here… I hope you will hear more from her right here on the podcast in the future.

You know, I still hope to hear more from you the listener. I’m not looking for you to write me long messages about how much you love the show or how funny you think I am or how much you like the production, or how much you think this podcast should be the top podcast on the charts or how it makes your day when a new episode publishes… no who would want to hear any of that!

I just want to know if it made you smile, gave you an idea or maybe encouraged you to do something.

I send myself fake messages about all the other stuff so I have that covered!

Seriously, holla back!

We have the comments section on the blog, ReidMyMind.com.
The email; ReidMyMindRadio@gmail.com
The Reid My Mind Radio Feedback Line where you can leave a voice mail: 1 570-798-7343

I would really love voice messages that I can share on the podcast. If you don’t want to call, you can grab your smart phone and record a voice memo and email the finished recording to ReidMyMindRadio@gmail.com.

I’d love to hear and share the voices of those who are listening. If you want to send a message but don’t want it shared just say so and it’s all good.

So make sure you Subscribe!
Apple Podcast, Spotify, Google Podcast Sound Cloud
Audio: Bring the audio to a screech!

## TR:

if you mainly listen to the podcast via Sound Cloud I’m hoping you will continue to listen but I am moving away from that platform. I’ve been tolerating their interface in order to avoid the move to another service.

I may decide to keep one or two episodes available, but the best method for staying caught up is to subscribe via Apple Podcast, Spotify, Google Podcast, Stitcher, Tune In Radio and wherever you get podcasts.

You can always visit www.ReidMyMind.com

So there’s no confusion, that’s R to the E I D like my last name!

I appreciate you listening and if you liked what you heard please rate and even review the show via Apple Podcast. And please, tell a friend to listen. Spread the love, man!

Audio: Reid My Mind Radio Outro

Peace

Hide the transcript

Up and Moving Again

Wednesday, March 13th, 2019

William at the finish line of the Prickly Pear

Meet William Greer, Director of the Cinema Touching Disability Film Festival. Hear his story of finding his passions after Traumatic Brain Injury (TBI) and vision loss.

We discuss TBI, Ultra Marathon running, disability representation in films and that time he ran a certain Boston Marathon with NPR’s Wait Wait Don’t Tell Me Host Peter Sagal.

This episode includes an original piece produced by Tilly Jones.

Listen

Transcript

Show the transcript

TR:

Welcome back to another episode of Reid My Mind Radio.
I’m your host and producer, T. Reid.

Today I’m speaking with William Greer. He’s the Director of the Cinema Touching Disability Film Festival. In this episode we’re talking;
* multiple disabilities,
* disability arts
* marathon running.

That’s next up! On Reid My Mind Radio. Let’s go!

Audio: Reid My Mind Radio Theme Music

WG:

I was riding a bicycle, not wearing a helmet.

TR:

This is William Greer.

WG:

And I went in the middle of the street when I shouldn’t have. Nothing between me and the pavement. My brain was exposed to light air and dirt. I’m told those are the three worst things that could come in touch with the brain.

I was in intensive care for probably three or four weeks. I’m told that there were a couple of times that I was legally dead while I was still in ICU. it took a lot of therapy and patience just to get me out of the hospital and back in school.

TR:

William was only 17 and still in high school at the time of the accident which caused a Traumatic Brain Injury (TBI).
In William’s case, the effects include a reduced ability to understand and learn math, facial paralysis…

WG:

I have poor short term memory, my balance is not as good as it used to be. The most dramatic result is the vision loss.

TR:

In order to return to school, Will would have to adjust.

WG:

Figured out new ways to take notes. Learned that I had to listen to a book rather than visually read it. graduated high school got in to Kenyon College and now I’m working full time.

TR:

In 2003, unable to find full time employment, William was volunteering for the Coalition for Texans with Disabilities when he had an idea.

WG:

Oh, we can raise money and awareness by showing films that have good representation of disability.

TR:

In 2004William produced the first festival known as Cinema Touching Disability. It began as a one day event.

WG:

We would pick out films about people who have disabilities. Sometimes they were documentaries, sometimes it was fiction film.

It started off as one art form and it sort of grown into others.

TR:

Among those included were a disability photography competition and a live re-creation of a piece of art originally produced in the documentary Getting UP.: The TEMPT One Story

Diagnosed with Lou Gehrig’s disease, almost completely paralyzed, a graffiti artist regains his voice through technology that reads
the movement of his eyes and enables him to create art and write once again.

Audio: “Marciac Master” By Tilly Jones

WG:

This year one of the people who entered my competition is someone from Australia with Cerebral Palsy and Asperger’s and a couple of other disabilities.

She plays 5 musical instruments and writes her symphonies. So I asked her to write an introductory piece for our festival. She did that. So we got the funds together and brought her over here. We had her playing music with other musicians and playing music during the intermission.

## TR:

The music you are hearing is the composition William referred to. The young musicians name is Tilly Jones.

As the years progressed the duration of the festival increased from one day to up to five days one year.

The festival like art itself serves multiple purposes that go beyond entertainment. Like representation.

WG:

We need good representation. Non stereotypical representations wherever we can get it. Whether it’s advertisements like commercials on TV. In paper representations; signs or in the ways that people with disabilities are treated in restaurants, libraries or movie theaters. When the community as a whole sees positive representation of disability it can only improve outcome and help people learn more about it.

[TR in conversation with WG:]

Do you have any favorite films about people with disabilities ? Anything that you would recommend?

Audio for each of the movies is included.

WG:

The two best disability films I’ve ever seen are;
The Best Years of Our Lives.” That was made in 1946One of the stars of it, Harold Russel, actually lost both of his hands in a training accident for World War II.

“Duet for One” which is about a music teacher who has I think its Multiple Sclerosis so she has to stop playing the violin.

Now those are the absolute best. No question about it. My favorites include “The Crash Reel” which is about a snowboarder who has Traumatic Brain Injury while trying out for the Olympics. It’s about his recovery and his desire to get back into competitive snowboarding and his family saying please don’t.

There’s “Right Footed” which is about the only armless pilot in the world. There’s lots of others that I really like

[TR in conversation with WG:]
What’s a (laughs) what’s on the bottom of your list?

WG:
There are so many of them. I really hated Memento. I think that that was a horrible representation of brain injury.

Don’t like Forrest Gump obviously.

Oh, Al Pacino was in it…

[TR in conversation with WG:]

Laughs… Scent of a Woman? Laughs…

WG:
Scent of a Woman, . I really hated that film.

Audio: sounds of a runner’s feet hitting the pavement…

TR:

William says he himself isn’t much of an artist. Growing up with horses, she’s definitely more of the outdoors type. He cycled over 30 miles at a time. I figure we can assume he’s athletic?

WG:
Yes.

I’d run when I was younger. I was on the cross country and track team when I was a Freshman in High School but there were lots of things they didn’t teach you like the importance of stretching, good diet and running wound up being incredibly painful . So after my Freshman year I didn’t start running again until 2005.

[TR in conversation with WG:]

And what made you do that?

WG:
Well, just looking for a good way to stay in shape and keep myself entertained.

In terms of sports that you can do as a Visually Impaired person on your own there aren’t really a lot of them and running seems to be like the best way to go.

[TR in conversation with WG:]

A lot of people wouldn’t necessarily think that because you’re talking about outdoor running.

TR:
As we know there are degrees of vision loss. William has some usable vision that enables him to manage independent running under specific circumstances.

WG:

I can run in a straight line and I see well enough to avoid obstacles so as long as I’m going on a familiar path I don’t have a problem running.

When I’m in marathons I prefer to run with a sighted guide just so I don’t take a wrong turn.

TR:

Training with a sighted guide prior to a race is optimal. It allows the two runners to become used to the preferred guiding method.

WG:

The sighted guide enables me to concentrate on running.

TR:

William has the guide run in front providing directions about obstacles and other information like approaching hills and changes in the terrain.

WG:

Even picking up water or Gatorade from the water stops.

Todd, the person who guided me on my first 30 and 50 Ultra Marathon, we ran two or three times together.

And I’m glad we did that because an Ultra is a heck of a lot different from a marathon.

[TR in conversation with WG:]

I thought a marathon was 26 miles. You said a 30 mile and then a 50 mile?

WG:

A marathon is 26.2 miles. An ultra is anything longer than that. Most of them are on trails. the trick with an ultra is a slower pace, you also got to avoid creeks, roots, rocks, holes in the trail. there are times when you have to walk because the hill is too steep or unsafe going either uphill or downhill. It’s not the same as a marathon.

TR:

In your standard marathon runners consume water and energy gels. In an ultra, you have to consume more carbohydrates including food like nuts, bagels, burritos, pretzels and chips. The body loses a lot of salt so that needs to be replenished.

WG:

In an ultra-marathon the runners carry their own water. You’ve got to be hydrating all of the time. You either carry something like a belt that can hold 5 or 6 bottles of water, a backpack that can hold a couple of big bottles of water or something that they call a camelback which is just a pouch that you fill with water and you can drink from the whole time.

In the ultras you can stop refill on water, have a bit of food maybe stretch a little bit if you need to and then go on your way.

[TR in conversation with WG:]

Wow! Fifty and one hundred mile, you’re doing that all in one day? Laughs…

WG:

Laughs… With a hundred mile it is one day!

TR:

William has 20 marathons under his belt. In fact, since he began tracking his runs, he’s logged in over 9,000 miles.

In 2013 Williams ran the Boston Marathon with his guide, NPR’s Wait Wait Don’t Tell Me host Peter Sagal.

Audio: 2013 Boston Marathon Bombing…

WG:

We finished 5 minutes before the first bomb.

That was luck as much as running skill.

## TR:

Such incidents are rare, but there are risks.

Running in his second Austin marathon without a guide, there was a change in the route and William was unaware of a natural depression in the street’s pavement.
WG:

It went down about a foot or so. I wound up going head over heels as a result of that.

It didn’t happen to the other runner because they could see it and avoid it. And that’s just one of those things where it hurts a little bit but you just got to stand up and start moving again.

TR:

Sound advice. For more than running!

If you’ve been considering starting your own personal running program, William has some advice for that too.

WG:

Buy yourself a good pair of shoes. If you can go to a store that specializes in running. You don’t have to spend 200 to 300 on running shoes especially if you’re just starting. If you got the wrong shoes it’s going to be painful. Don’t worry about having to run fast. Just run at the speed that you’re comfortable with and run on a route that you know.

The best piece of advice that I ever heard about running is if it hurts you’re doing it wrong. Just run so that it feels good.

[TR in conversation with WG:]

I think that might be a foreign concept to a lot of people… laughs…

WG:

Laughs…

[TR in conversation with WG:]

The average person who doesn’t run there like probably saying, why? Laughs… Why do you do this man?

WG:

You know that’s … Pause…

Because I can’t imagine not running.

There’s something about it that really feels good. And makes me feel just incredibly good right and centered. It’s a bit like an addiction. And I find that I’m always wanting to increase the distance I’m running or increase the difficulty of the race or find a different kind of challenge to add into it.

The next marathon I’m going to be in I’ll be running a 10K on Saturday and a 50K on Sunday. So yes a 50 K is challenging let’s make it extra challenging by running a 6 mile race the day before it.

Yes you’re soar but it’s a soreness that feels good.

[TR in conversation with WG:]

Have you found anything that can possibly match the feeling that you get from running? Laughing… Yoga? A good movie… laughing…

TR:

William says he gets a lot of fulfillment out of organizing the film festival but nothing compares to running.

In addition to that two day event William is planning on running a marathon in December 2019.; 100 mile Ultra

The next Cinema Touching Disability Film Festival is scheduled for October 25 & 26, 2019 in Austin Texas. For more information you can visit CTDFilmFest.org

It may not sound like it but I used to run years ago and actually enjoyed it. I never did a marathon but I can grasp why someone would find it addicting.

There’s a freedom that comes with running. Especially trails. You’re forced to be present – dodging fallen tree stumps and low hanging branches, jumping creeks and being aware of nature.

Being Blind or visually impaired, so much of the daily grind is about people and aspects of society concentrating on what they think you can’t do.

Running and other such activities can for some remind and reinforce a feeling of independence. Athletics and sports provide the opportunity to excel based on strengths while continuously improving weaknesses. Plus progress is measurable.

Unlike my addiction to chocolate!

Big shout out to Mr. William Greer. A special shout out to Cheryl Green who suggested Will to the podcast.

Cheryl’s a film maker who focuses on disability identity culture and justice. She’s an advocate for accessible media. And you’re going to meet her on an upcoming episode.

You too can be a part of the show; Want to suggest a guest or topic, comment on an episode… hollaback!

We have the comments section on the blog, ReidMyMind.com.
The email; ReidMyMindRadio@gmail.com
The Reid My Mind Radio Feedback Line where you can leave a voice mail: 1 570-798-7343

I would really love voice messages that I can share on the podcast. If you don’t want to call, you can grab your smart phone and record a voice memo and email the finished recording to ReidMyMindRadio@gmail.com.

I’d love to hear and share the voices of those who are listening. If you want to send a message but don’t want it shared just say so and it’s all good.

if you mainly listen to the podcast via Sound Cloud I’m hoping you will continue to listen but I am moving away from that platform. I’ve been tolerating their interface in order to avoid the move to another service.

I may decide to keep one or two episodes available, but the best method for staying caught up is to
subscribe via Apple Podcast, Spotify and Google Podcast. All other platforms will be updated as well.

I appreciate you listening and if you liked what you heard please rate and even review the show via Apple Podcast. And tell a friend to listen. Help spread the love!

Don’t forget, you can always find me at ReidMyMind.com.

So there’s no confusion, that’s R to the E I D like my last name!

Peace!

Hide the transcript

Celebrating Loving & Living Blind

Wednesday, February 13th, 2019

This past January marked the anniversary of my becoming Blind. For most, this doesn’t sound like something to celebrate. I disagree. And in this episode I invited the three most important people in my life to reflect on the past 15 years.
Side by side photos of the Reid Family in 2004 & 2018

It’s not just a personal reflection. Rather something I think can be of use to anyone in the early stage of vision loss. Take a listen and hear how much there is to celebrate.

Listen

Transcript

Show the transcript

TR:
Welcome back to another episode of Reid My Mind Radio. I’m your host and producer T.Reid. In addition to bringing you profiles of interesting people impacted by blindness, low vision, disability, I also use this space to share my own experience with vision loss.

January 2019 made 15 years of being blind. I thought about this on the day that marked the event, the anniversary of my surgery. After reflecting for some time I decided it should be a celebration. So I invited three of the most special people in my life to join me.

And it wouldn’t be a true celebration without you.

That’s up next on Reid My Mind Radio.

Audio: Reid My Mind Radio Theme Music!

Audio: “It’s Our Anniversary”, Tony Toni Tone (Instrumental)

TR:

Today, I’m celebrating a gift of 15 years.

I know celebrating blindness seems strange to some so let’s make this clear right now, I’m not celebrating loss.

Audio: “Do you know what today is…” ” Anniversary!” from “It’s Our Anniversary”, Tony Toni Tone

TR:

Interesting fact, most marriages where a partner experiences a disability, end in divorce.

I know a little bit about marriage and disability, but I invited a special guest to help me think about this subject.

Audio: “The Baddest Chick”, Trina

[TR in conversation with Marlett:]

Can you please just state your name for the record?

Marlett:
Marlett Reid

[TR in conversation with Marlett:]

And who are you?

Marlett:
I’m the baddest chick!

Audio: As the music gets louder …

Marlett:
I’m your wife!

TR:
First, I asked Marlett to talk about what she felt were the main challenges to relationships impacted by blindness.
Marlett:

One of the challenges would be communicating. Which is considerably hard if that’s not something you normally do. And even between us we needed to be a little bit more gentle with each other’s feelings so that the other person can hear and then once that takes place then I think both parties would be able to work together. I think that was a huge challenge for us. Being able to work together or to hear each other because of not fully understanding how to communicate.

TR:
Poor communication impacts any relationship. Now take away the most relied upon method of communicating among sighted folks. That just enhances any existing problem.

Then there’s external forces.

Marlett:

People can be really rude!

They look at us as being different and their just curious. I remember it was our anniversary and we went to Atlantic City and we were online and waiting to get into the restaurant or it was a comedy club. I leaned in to tell you something and you bent down and the two women behind us leaned in as well. Laughs!… to hear what it was I was telling you or to see if they could read lips. And then I started telling that they’re leaning in… laughs… they’re leaning in to hear what I’m trying to say to you. This is what I was whispering to you.

[TR in conversation with Marlett:]

TR:
Laughing.. And what did I say…cause I know I probably said something stupid!

Marlett:
I know you were fascinated by it. You were like “seriously!”

[TR in conversation with Marlett:]

Yeh, I didn’t know!

Marlett:

Right. But that wasn’t like the first time which is why I told you. it was way more than once…

Or, we’re walking down the street and especially if it was men. They weren’t rude or anything, they would get out of our way . They were respectful in that regard. Not trying to mess with us or anything but they would just stare at you. I would look at them and then they would acknowledge me.

They would just stare at you!

[TR in conversation with Marlett:]

… long pause

So wait are you saying women don’t stare at me?

Marlett:

Laughs… Yeh, they stare at you too sweetheart.

[TR in conversation with Marlett:]

Ah, thank you Hun!

Marlett:

There was the time the woman tried to give you her number. You thought I didn’t know.

[TR in conversation with Marlett:]

You making this up… Long pause…
Did that really happen?

Marlett:
Such an idiot!

[TR in conversation with Marlett:]

(Regarding the men staring)

What do you think that’s about?

Marlett:

You look like them. Yet you don’t.
And the fact that you look like them kind of bother’s them. They’re fascinated like how are you able to do this and that. There’s many things that are probably going through their mind, but they’re still freaking rude.

[TR in conversation with Marlett:]

Yeh! Now the ladies they stare for different reasons!

Marlett:

Because they think you’re hot. mm hmm!

[TR in conversation with Marlett:]
Thank you sweetheart.

Marlett:
You’re welcome!

[TR in conversation with Marlett:]
I appreciate that. Do you want to share what we came up with because I always thought that was a great response to those types of situations. On how to handle it when people are leaning in to our conversations. You want to share what we came up with ?

Marlett:

It’s G, G rated! (Referring to the podcast.)

TR:

Putting my begging for compliments and attention aside, did you notice that. Listen again!

Marlett:
They look at us as being different.

TR:

She could have said they look at you as being different, but she didn’t. She said us. Just an observation.

[TR in conversation with Marlett:]

We know that relationships are tested during times of all types of hardships. We had a lot of things going on at the time that people say are the most difficult things to deal with;
We bought a house, you were pregnant, my brother passed away and then we found out I was going to be Blind.

Marlett:

Yeh!

[TR in conversation with Marlett:]
If you could kind of go back to any point in these 15 years, is there anything that you would tell yourself then that you think might be helpful based on what you know now?

Marlett:

I think I would tell myself to know the imp0ortance of total acceptance.

[TR in conversation with Marlett:]

Acceptance of what, what does that mean?

Marlett:

Finding out that you were going to be blind just to accept that. Understand that is the way it’s going to be. He’s going to be blind. So go from there, what are you going to do now? Not try to find a cure. What are you going to do? How are you going to live your life? That’s the important thing.

[TR in conversation with Marlett:]
You’re saying you sent time trying to find a cure?

Marlett:

I would say probably about three months or maybe a little bit more. I would go downstairs in the basement that’s where we had our computer at the time

[TR in conversation with Marlett:]
Heh! And it was cold down there too!

Marlett:

agrees)
It was really cold and I had contacted a lot of Doctors. I got responses back. If they didn’t tell me what I wanted to hear I’d continue.

[TR in conversation with Marlett: ]

Wow!

Marlett:

You see some of these people and they saw their wives for the first time. They have the glasses they put on and they

[TR in conversation with Marlett: ]

They had that back then?

They were working on it back then and I knew about that. I would see if you were a candidate.

I would tell my story . I got a lot of responses.

[TR in conversation with Marlett:]

What did they say?

Marlett:

One Doctor I think he realized that I was contacting almost everybody. He said to me.. let me explain something.

They would need the Optic nerve and you didn’t have the Optic nerve on the left or on the right. There was absolutely nothing they were going to be able to do. He was trying to let me know I could stop writing everybody and (laughing ) I guess stop annoying them. Although he didn’t say that. He really went into detail and I think that was my last one I got and then I stopped.
[TR in conversation with Marlett:]

So if you’re doing this and somebody’s telling you to accept it, I don’t think that would have done anything for you. Just the words, like what would have made you…

Marlett:

No, that would have done it and I’ll tell you why. No one was telling me anything. They would tell me… “Oh I’m so sorry!” “Oh you poor thing” I didn’t want to hear all that. If someone sat me down and said you’re trying to find this cure that’s not there when your husband’s there you just need to accept him. If it’s meant to be, if there’s going to be something you know you’ll come along and you’ll find it. But not to sit down here and spend hours and hours because I had no one to talk to. No one understood. I was just annoyed when they did say something which was usually something stupid.

TR:

15 years later, I can see the value in celebrating all aspects of My adjustment.

Remembering the good and bad.

All of the thoughts following the realization that I would never see again. The things I naturally thought I’d miss. The inability to see a future.

After a while though, there were breaks between consecutive days of feeling that way. Bridged by small successes along the way. Days that included accomplishments, random laughs and even short glimpses of hope.

A bit more confidence returning every day. Even if I didn’t realize it at the time. Like the realization that the things I thought I’d miss weren’t as important as the things I still had.

Like my baby girls!

A 6 year old.

[TR in conversation with Riana:]

Please state your name.

Riana:
My name is Riana. (Sounding tired or sad…)

[TR in conversation with Riana:]
Ah, what’s the matter Riana… (baby talking voice…)

Riana:
Laughs… shut up!

[TR in conversation with Riana:]

laughs… For the record, how old are you?

Riana:
21.

[TR in conversation with Riana:]
What happened to 21 Honey!

Riana
No, it was 20 Honey! And 21 is 21, 21, 21 cause that’s what 21 Savage says. Duh!

TR:
And that little baby who was born just prior to me losing my sight.

Audio: “Hi my name is Raven!”

TR:
Well, that was her at about 3… here she is now.

Raven:
Hi, I’m … (laughs)!my voice cracked! Hi, I’m Raven!

TR:
Two baby girls and two separate experiences of my blindness. Well, maybe some overlaps.

The differences seem expected. One knew a father with sight the other never really did.

Let’s start with Riana.

I asked both of my daughters to give some advice to a little girl who is experiencing what they did as a child of a parent who becomes blind.

[TR in conversation with Riana:]

She’s dealing with issues that you did deal with . People who stare.

Riana:
Mmmm!

[TR in conversation with Riana:]

What would you say to her in terms of dealing with those types of things.

Riana:
I’d say first off, I completely understand what you are going through, because I deal with it all the time! (Expressed forcefully)

[TR in conversation with Riana:]
What is it that you deal with?

Riana:

People staring at my father. People staring for too long. That’s what the problem is…
I feel like… (exhales in frustration) I’m trying to get my words together because my temper’s coming up! I don’t want people to view me as such!

[TR in conversation with Riana:]
Ah, so you get angry.

Riana:

I don’t get angry. I get annoyed.

[TR in conversation with Riana:]
About?

Riana:

About people. I’ll be blunt. People just don’t know stuff. Their trying to learn because they’ve never seen it before. I don’t even mean a Blind person. It can be anything. I stare at things some times. You might stare at things.

[TR in conversation with Riana:]
Laughing… No I don’t …

Riana:

I get it. I’m talking to that little girl.

[TR in conversation with Riana:]
Oh, ok!

Riana:

Saying that like she might stare at things too. Everybody stares

[TR in conversation with Riana:]
What do you think the difference is between a normal stare and a stare that becomes intrusive?

Riana:

When you stare too long! When you’re staring at people just doing regular Things. Let’s say your father has a guide dog. You’re looking at the guide do and you’re like ok this is interesting this is new, well maybe I’ll Google this and then you stop staring. But when you’re just staring a person if you literally turn the table clearly that would make you uncomfortable. Stop doing that!

I’m trying to do like the four principle things and one of them is don’t take things personally but when people are in your personal space I’m going to take it personally!

TR:

Riana’s passionate about this subject.

She’s referring to the book by don Miguel Ruiz, called The Four Agreements.

Riana:

You have every right to take it personally, but don’t let it hurt you because you have to understand that it’s all on the person and not your father or mother who lost their sight. And I know for a fact that I knew that when I was younger but I did not know how to communicate that to you Daddy because sometimes I thought that, you did say that, that I was embarrassed by you but I wasn’t . I was just annoyed by people. That’s literally been me since day one. I don’t like when people are r nosy. When we go to all white places like the diner and I would get mad that people stare. People were not staring because you were Blind people were staring because we were Black and that makes me mad.

[TR in conversation with Riana:]

Laughs.

Riana:

But I’m not embarrassed. I’m serious, I’m not embarrassed to be Black.

[TR in conversation with Riana:]
No doubt!

Riana:

You know what I mean. That gets on my nerves when people are so intrusive. I can be quiet and shy, but I do have a very strong opinion about almost everything in life so I sometimes want to communicate that opinion to these people. Stop looking. You want to learn more, YouTube. There’s literally the whole entire internet for you to learn. Or if you want to learn more come talk to him. Like ask him some questions that are not offensive you know what I mean, think before you say. So that’s what I would tell to the girl. If you really truly have a problem and they’re really staring you can go up there and talk to them and say like hey if you have some questions you can come up and talk to my father or my mother. But if you’re not going to ask the question stop staring, cause you got a phone!

[TR in conversation with Riana:]
Got a phone as in you can Google it!

Riana:

There’s computers. If you don’t have a phone or a computer there’s a local library. Like come on! There’s so much knowledge you can get! (Said very intensely!)

[TR in conversation with Riana:]
Ok, alright, alright! Easy easy, woosa!

Riana:

Woosa!

The two laugh…

Riana:

Daddy I’m rocking back and forth…

The two laughing!

It just gets on my nerves some times.

[TR in conversation with Riana:]
Ok, so now what would you say to the parent. Because you said something interesting that I assumed you were embarrassed.

Riana:

You did. All the time!

[TR in conversation with Riana:]
Laughs…

Riana:
I’m serious you did.

[TR in conversation with Riana:]
I don’t know about all the time but, but ok, ok! Part of that is because you were too young like you said to communicate back.

Riana:

Communicate how I felt!

[TR in conversation with Riana:]
So what would you say to a parent?

Riana:

That sometimes kids don’t know how to communicate how they feel. Sometimes the other person doesn’t know the words to say about the situation.

TR:

Good advice and the whole idea that the problem is with the person staring and not taking it personally… I love that.

For Raven, who was born right before I became Blind there’s no change, nothing to really adapt to. Having a Blind Dad, well that’s just…

Raven:
Just like having a Dad but he can’t drive me places. Laughs… Like that’s it. That’s the only difference.

TR:

Normal

Raven:

I thought everyone had a parent that was blind.

[TR in conversation with Raven:]

Laughs…I don’t know why that makes me laugh.

Raven:
I don’t know either.

[TR in conversation with Raven:]
It’s cute and it’s also… I think my child needs help.

Raven:
I really did.

[TR in conversation with Raven:]
No, I’m just joking!

Raven:

I have cousins. I did not process this thought.

[TR in conversation with Raven:]

No, but that’s cool though!

TR:

Laughs…Normal is in the eyes of the beholder!

Now look! Don’t let her calm approach fool you.

[TR in conversation with Raven:]
What were the questions that you got from school?

Raven:

I remember getting annoyed at certain questions because people would ask really stupid things.

Like “How does he eat?”

Like with a fork!

If someone asks like how you lost your sight, I’d be like oh cancer. I would be fine answering those types of questions. But yeah, they either ask stupid questions or it would just be like how did he loose it.

[TR in conversation with Raven:]
Nobody was like you know, teasing or nothing like that?

Raven:

I would have punched them!

[TR in conversation with Raven:]

Ok, I raised you right!

Raven:
Laughs!

TR:

Raven’s advice for that young girl who’s parent is newly Blind is a little different.

Raven:
Well, I’d tell the child that their hearing is advanced so you can’t get away with anything. So don’t try it!

[TR in conversation with Raven:]
Laughing… Oh my goodness.

Raven:

No that’s an actual thing. You lose your sight other sights (senses) get hire.

[TR in conversation with Raven:]
I pay attention. No, no it’s not!

Raven:

It’s a thing. I learn that every single year in Science.

[TR in conversation with Raven:]

They are incorrect!

Raven:

It’s like if you’re trying to listen to a conversation and there’s a bunch of conversations going on around you and you’re listening to that one conversation and you’re focused on that one.

[TR in conversation with Raven:]
You’re focused. Nothing increases.

So for example. If you have a radio in here, right. That radio only goes up to a certain volume.
Raven:

But if you plug a speaker in…laughs…

[TR in conversation with Raven:]
Laughing… No but , just because that speaker loses a button doesn’t give you an extra speaker.

The two laugh together.

Wow, my own daughter has that false belief.

Raven:

I was told that every single year of my life.

[TR in conversation with Raven:]
By who?

Raven:

My science teachers. I’d tell you the stories back in the day how like every time we’d talk about …

[TR in conversation with Raven:]
Senses?

Raven:

Senses! I’d be like hey guys my Dad only has four… laughing…

But we’d always talk about the senses and they’d be like if you lose one of your sense the other ones are increased.

[TR in conversation with Raven:]
No, it’s false!

Raven:

Did you feel that punch!

[TR in conversation with Raven:]
Yes.

Raven:

Exactly, you would not have felt it if you could see!

The two laugh…

TR:

Not only is there false information and stereotypes, but if you think about the way the word blind is used and it’s understandable why people can have a hard time accepting blindness.

More often used to describe everything other than the loss of sight.

Audio: Mix of songs featuring metaphors for blind…

“I’d rather go Blind” Etta James
“When a Blind Man Cries” Deep purple
“Channel Zero” Public Enemy begins with “You’re blind baby, you’re blind from the fax cause you’re watching that garbage!

TR:

Pair blind with other disabilities and oh boy!
As in you’re deaf, dumb and blind.

It’s no wonder that For many adjusting, blind becomes a word to run away from. I don’t think I ever had that choice.

Avoiding the word Blind was the equivalent of trying to pretend I was sighted. I just wasn’t going to be able to get away with that so why even bother.

the word that I did have some feelings about was disabled. I felt as though it ruled out all of my possibilities. Where blind was specific to my eyes, disabled seem to imply that there was nothing about me that worked. A disabled car sits on the side of the road until taken away and or repaired. Athletes on the disabled list don’t even get to suit up for a game. Once again restricted to the sidelines.

But, adjustment is ongoing. You learn new ways of thinking about it, new philosophies.

Like choosing how you view disability.

Do you see it from a medical perspective? As in we need to heal or cure it in order to fix all of the related issues.

If we cure that blindness you won’t need a screen reader. Just fix those legs and who needs curb cuts for wheelchairs. You don’t need wheelchairs.

What about an alternative perspective?

Like the problems with disability stem from the lack of access and societies negative perceptions and expectations.

I also became familiar with person first language as in a person with a disability versus identity first as in Disabled person, Blind person.

This is recognizing Blind as an additional characteristic.

Riana:

If somebody asked me what my father is, you know I might say he is Blind. He’s Black. He’s bald. My father’s probably why I’m this. Or he taught me this or he’s my best friend, I might say that!

[TR in conversation with Riana:]
Ah, thank you sweetheart.

Riana:

I might leave the baldness out but I’d say he’s Black and Blind.

[TR in conversation with Riana]

You changed my Netflix profile to say that!

Riana:

Laughs.. Yeh, baldy!

The two laugh…

TR:

But, isn’t blindness and disability something I’m supposed to overcome?

Audio examples from news segments bridged by static signal…

“He overcame the odds and conquered his disability in the most incredible way”
“Made his disability anything but a disability”
“Doesn’t use her crutches as a crutch”

TR:

We hear things like ” You do that so well I forget you’re blind Based on the common belief around disability, around blindness well, I know I’m guilty of thinking it was a compliment. But it’s not!

More than likely, it’s not said with bad intent. No, they believe this based on their image of blindness. To them not seeing it says something good about you and them. Similar to the false idea that being color blind is helpful to race relations.

I want you to see my blindness. I really want you to know what it actually means and get rid of the nonsense we’ve been fed.

[TR in conversation with Marlett:]

Do you think you look at blindness differently after 15 years?

Marlett:

Yes.

[TR in conversation with Marlett:]

Tell me.

Marlett:

Blindness affects your eyes and that’s it. Not your mind. Not anything else. You just got to do things differently.

TR:
My blindness is now a real part of me. Like other aspects of who I am it’s reflected in the things I do.

My blindness is in the way I walk down the street. And yes, my blindness still has a bop to it!

My blindness is in how I raise my kids. The way my family and I travel. It’s right here in the way I produce audio.

I once thought my podcast shouldn’t be limited to my blindness.

I thought certain topics were blindness related and then there was everything else…

One in 5 people have a disability. Blind people participate in every aspect of life.
Politics, Art, culture, sex.

Me producing and hosting means I can bring a blindness perspective. It doesn’t mean I have to, but there’s no real reason I can’t or shouldn’t.

It’s a part of me and therefore a part of the things I do.

It’s not all of me but a part. I mean, I’ve been blind now for 30 percent of my life.

The name may not reflect it out right, but this is a disability podcast. It’s a blind podcast. It’s everything that I am. It’s Black, it’s Hip-Hop! Those who know can hear it.

It just is because it’s me and it’s my thing!

Audio: It’s My Thing, EPMD mixed into 7 Minutes of Funk…

I don’t consciously recognize my anniversary every year. If it makes itself present, cool! I acknowledge it and personally reflect. Would I like a cake and full celebration? Who wouldn’t like cake?

But I want this celebration to not be mine alone.
I’m thinking of those going through something similar.

For many, the idea of becoming blind is worse than death. That’s not hyperbole.
Different polls have shown this to be true for many.
I’m alive and kicking so I guess I can’t truly make the comparison.

I know not everyone consider celebrating 15 years of being Blind…

Marlett:

If I had to be honest, that’s not how I looked at it. Although I tell you, I remember the prayer that I had. I don’t care what happens, just don’t take him from me. I’m going to start crying. Just don’t take him from me.

[TR in conversation with Marlett:]

Mmm! That’s cool… that’s cool!

Marlett:

I just remembered that in that moment. It came back to me.

[TR in conversation with Marlett:]
Thank you baby, I appreciate that! Nice job!

Marlett:

Thank you!

TR:

This is a celebration of adjustments, acceptance , love and life!

[TR in conversation with Marlett:]
Instead of being in the cold basement researching. If 2003, 2004 there were a podcast called Reid My Mind Radio and you had a fly dude kicking’ the ballistics… laughs… No seriously, if there were a podcast for you to listen to would you have liked to hear from other people on a podcast?

Marlett:

Absolutely! I was, I was hungry…

[TR in conversation with Marlett:]
I think that was too, that’s too sexy Marlett. You can’t …

Marlett:

I didn’t try to be sexy…

[TR in conversation with Marlett:]

I know but you can’t say hungry. there’s no way I can put that on the air like that. You got to explain it again.

Marlett:

I was looking for something, anything…

[TR in conversation with Marlett:]

Mmm! There you go again. You see, you’re making it sexy. Stop . Just say it without being sexy.

Marlett:

I was looking for answers and there were none. There was no one there to… I felt like to guide me through this journey.

[TR in conversation with Marlett:]

Long pause…

I’ma guide you through this journey! Laughs… fade out.

TR:
Hollaback…

We have the comments section on the blog, ReidMyMind.com.
The email; ReidMyMindRadio@gmail.com
The Reid My Mind Radio Feedback Line where you can leave a voice mail: 1 570-798-7343

I would really love voice messages that I can share on the podcast. If you don’t want to call, you can grab your smart phone and record a voice memo and email the finished recording to ReidMyMindRadio@gmail.com.

I’d love to hear and share the voices of those who are listening. If you want to send a message but don’t want it shared just say so and it’s all good.

Another way to show your love if you like what you hear…

Subscribe!
Apple Podcast, Spotify, Google Podcast Sound Cloud, Stitcher, Tune In Radio or wherever you get podcasts.
Visit www.ReidMyMind.com

So there’s no confusion,
… TR in unison with Marlett:
that’s R to the E I D like my last name!

Peace!

Hide the transcript

On the Mic with Roy Samuelson

Wednesday, January 30th, 2019

Picture of Roy Samuelson
Continueing the #AudioDescription conversation this time with Voice Over Artist and AD Narrator Roy Samuelson. Hear about his start in the business, more about the process of creating Audio Description from his perspective and our shared enthusiasm for the subject.

We’re talking;
* Process – can Blind and Low Vision Narrators participate?
* Normalization vs. Diversity – Is there room for non-white voices?
* Technology & other opportunities for growth in the field and more…

Listen

Resources

Transcript

Show the transcript

RS:
My name is Roy Samuelson, I’m a Voice Over Artist.

Audio: Multiple demos of Roy’s voice over work.

TR:
That’s up next, right here with me T. Reid
your host and producer of this podcast, Reid My Mind Radio!

Audio: Reid My Mind Radio theme Music

TR:

In 2018 I published some thoughts on Audio Description. That was followed up with an additional conversation on the subject. Today we’re continuing this exploration of Audio Description or AD. This time from the perspective of Voice Over artist and AD Narrator Roy Samuelson.

First, Roy answers the question, what exactly is a voice over

RS:

Voice over is anything you hear with a voice. That could be in a video game a character that’s talking. A commercial where someone’s introducing a product. A promo where there’s a T.V. show being advertised, someone’s introducing when it’s going to be on and what channel.

TR:
As a kid, Roy and his class was assigned the task of interviewing anyone they wanted.

RS:

I wanted to interview someone att eh radio station. When I went there one of the first things the announcer showed me was how to angle the mic so the p’s won’t pop and I thought that was the most amazing thing I had ever seen in my life. Laughs!
This little adjustment could make such a difference. So my curiosity was definitely started then.

TR:

That curiosity along with some additional experience helped lead Roy to voice over.

In his early 20’s he landed a job with then Disney’s MGM Studios theme park in Orlando Florida.

DisneyJob

RS:

I would take over as a gangster and take the audience through all of the scary scenes in movies. I’d have a microphone and in between shooting things I’d be narrating what was going on around the place.
Every 6 to 8 minutes I’d get blown up and start the thing again. So it kind of became like an exercise in just building the skill of talking to people who are paying attention to the story that they’re seeing. That kind of introduced me to voice over.

[TR in conversation with RS:]
What makes a good voice over artist?

There’s a bunch of different opinions. I like to see voice over as a form of acting. It’s a character whether it’s a narrator, a character in a cartoon or even just a commercial. It’s a character telling a story and being part of a story and sharing that with people.

[TR in conversation with RS:]

Do you have a background in acting as well?

RS:

I do yeah. I took a lot of improv classes. In school I had a lot of opportunities on stage and that’s really helped a lot.

TR:

That acting experience eventually landed Roy in a script writers group.
These meetings brought together professional script writers seeking feedback from actors who would cold read their scripts. Meaning, there was no preparation on the part of the actors.

RS:

We would read the characters and read the description and afterward the feedback was all about the writing. So the spotlight was definitely on the script and not the actors and I felt that was so enjoyable. I could play and I could have fun do these ice cold readings without a lot of preparation. The more times I practiced, the more experienced I got with cold reading. When I found out about audio description it seemed like a real segue way from what I had been doing at the script writes and even as far back as that Disney job along with all the other voice over work that I’ve been doing. It felt like a right fit.

[TR in conversation with RS:]

So how did you actually find out about Audio Description?

RS:

A friend of mine referred me and I didn’t literally knock on the door, but I knocked on the door for about two or three years just letting them know I was available and strongly interested and the response was well we’re kind of booked up right now we got everyone we need but thank you for checking in. It wasn’t a brush off it’s just that’s where it was. Every now and again there would be an opportunity where I could fill in for someone and I did. It was so exciting and so much fun and I said thank you so much any other time please let me know, oh sure we’ll let you know. Another year passed . It took a little while.

TR:

In order to get better insight on how Audio Description is made, I asked Roy to walk us through the process
from his perspective.

RS

Audio: Upbeat music…

The scripts are pre-written by, they’re called Describers.

I call myself a Narrator, Audio Description Narrator.

The scripts come to me pre-written and in it are obviously the words that I say. There’s a bunch of queues that tell me when I say what I say. For example, a queue could be time code, where I’m watching the screen and reading the script at the same time and on the screen there’s a time code (like a stop watch). When it gets to a certain point in time that’s my queue to start talking.

there’s visual cues or audio queues. Sometimes it’s the last few words of dialog that the character is saying. It could be even a pause between a long section that I’m speaking. First two sentences then there’s a 2 or 3 second pause before I start speaking again. There’s all sorts of different queues that they use.

TR:

Process makes production efficient. But
they can also unintentionally exclude people from
participating.
Visual cues for example could limit a blind Audio
Description Narrator’s ability to independently function in
such a position.
When I asked if laying down all of the voice over work and
editing at the appropriate time positions was an option,
Roy explained further.

RS:

That could be a way. I’m on a few one hour shows, when we’re all in sync and the script is ready, we’re able to finish in about an hour. They give me four hours total, just in case something can come up . For the most part, it’s not real time but it’s pretty close to real time.

TR:

Watching over the entire recording process is the AD Director. Familiar with the script, they’re listening for any mistakes including mispronunciations and time overlaps.

[TR in conversation with RS:]
So you’re sitting there watching the time code and reading the script, what happens if you go a little longer? Is it just okay, take two?

RS:

If there’s one line that I did not speak quickly enough and the last few words and maybe the last few syllables are spilling over to dialog , as you know that’s not fun for an audience member. They do their best to adjust it either by having me go a little faster or they try to change the words or they even slip the audio that I recorded and make it slide in to fit just perfectly.

TR:

Fully aware that Roy’s responsibility in the process is voicing the narration, I still had to ask;

[TR in conversation with RS:]

How do they determine which narrator is right for a movie or project?

RS:

That’s a great question. I’m learning, I’m definitely on the action adventure horror side of things. (Laughs…) You know with Criminal Minds, the upcoming Girl in the Spider’s Web, the Inspector, Jurassic World. This is the genre that is pretty narration heavy and I do my best to go as quickly as possible without sounding fast. I’ve done some other projects that are more wonderful in the sense of awe inspiring, kind of take it all in sort of thing. Those are the sorts of things that I been cast. That’s something they know I can do and I would think the people that make the decision it makes it easier for them. Oh yeh, this is something Roy’s already done before.

[TR in conversation with RS:]

One that I talked about and this was my personal opinion was Black Panther. So Black Panther ended up being voiced by what sounds like a British White Man.

RS:

Oh!

[TR in conversation with RS:]
For me as the consumer, I thought it was a little disruptive…

RS:

Sure!
[TR in conversation with RS:]

… to the whole feel and aura of the movie.

RS:

Yeh! Absolutely.

[TR in conversation with RS:]

I ended up hearing from some other people who said that same British person voiced Captain America. They were like, I didn’t like the fact that it was a British guy voicing Captain America. People felt a little upset by that. What is taken into consideration when these choices are made?

RS:
Oh it’s so exciting I have so many things I want to talk to you about with
this.

[TR in conversation with RS:]

Okay!

RS:

I remember there’s a quote by Shonda Rhymes where she talked about normalizing instead of diversifying. I’m seeing so many femal voices, people of color voices all sorts of opportunities. I hate to say it, the stereotypical white male voice that has been so common is now not as common which is great. I think there’s many more opportunities different voices to be in this. I think it can only help the story. I think you named two really great examples. When you’re in a story you don’t want to be interrupted. So when the audio description comes in it shouldn’t be out of left field.

I do think these companies are more aware of the content of the story being told and they’re taking a lot of consideration into that.

[TR in conversation with RS:]
That’s good to hear.

[TR in conversation with RS:]
One of my complaints in terms of the script and how things are determined, what are you going to describe? So if I go back to Black Panther, there was a very interesting thing that I found out because it was being discussed. It was not included in the description at all it came up like months after on a radio program I was listening to. They went into more description about the spaceship. I guess in one of the angles when the ship came down, they said how it resembled an African mask.

RS:

Hmmm! (In understanding.)

[TR in conversation with RS:]

They all look different but I get a real sense of that. Plus the fact that the spaceship was created like that , that blew my mind! But I never got access to that information.

RS:

Oh!! (In further understanding.)

[TR in conversation with RS:]

So there was a decision made. Someone didn’t think that was important. So this is why I’m always wondering well at some point it seems to me that the writers of the description should be the writers of the movie.

RS:
Oh, I see.

[TR in conversation with RS:]

They have the vision right? the Director, they’re the ones making these decisions . So some of that information of what they want that consumer to feel , whoever that consumer is Blind or sighted, that should be passed along and so I always wonder, are there conversations between the audio description company and the actual producers and writers of the film. And it doesn’t seem like it. Maybe on like an independent.

RS:

I’m not sure which film it was, but I know it was a big budget film, they definitely cared about to make sure the audio description was heard and they brought in the team. I was brought back and recorded some lines that were very nuanced.

So I think there is a genuine care for the audience for audio description. I’m not going to make a generalized blanket statement on that but I think there are people who are involved outside of audio description but still want to care about the things that you’re talking about.

I’m not sure if Haunting on Hill house on Netflix is described. There’s an element of that series, after 10 episodes I was kind of familiar with the story line. There was an element that was shared on line and as soon as I heard it it was so obvious. It was one of those things like aw wow I didn’t even notice that.

But I think what you’re talking about, back to the Black Panther spaceship is that with audio description we are limited to … if a picture is worth a thousand words , there’s 24 frames per second you know it’s like… I’m not defending it but it definitely is selective. The audio description is by its very nature limited. I’d be curious if there is a way to have like I’m just brainstorming here but out takes or something else that goes deeper into the story to allow those visual elements. How exciting that would be.

[TR in conversation with RS:]

I think there is.

For the Audio Description experience part of it is so so frustrating. It has nothing to do with what you all are doing, it’s the technical side. When you go to a movie theater chances are they’re giving you either the wrong device or the device doesn’t work. So you have to run back over and find a manager. And in my case it’s always my wife. She moves a lot faster than I’m going to move so she’s doing it! Boom, boom, boom! And I feel terrible. I feel awful because she’s missing that part of the movie, but she doesn’t want me to experience it without it.
There’s all this time during the promos. Those aren’t described so I’m usually bored. It would also be a test of the technology because if the right track is coming through that’s telling you about the movie, then you know your stuff is working, you technology is working. This is exactly what they do in a show, like a Broadway show. They introduce you to the cast beforehand. They describe their costumes, they let you get acclimated to their voices, they’ll describe the set. All of that is done before the show. So I think like hey, why not put that out beforehand. Yes the movie is limited to that time, but the experience really does go past that time.

RS:

Wow!

TR:

Listening back to our conversation, I realize a few things.

First, I think I get a little enthusiastic about the subject.

Secondly, I referred to the issues encountered in theaters when using AD only as a technical problem. And while yes sometimes the problems arise from the technology, more than often I feel as though the problems stem from uninformed theater workers.

I’m still trying to figure out why when you let them know you’re Blind and want to use the Audio Description device they translate that to mean you want the device for the hearing impaired.

Come to find out, Roy is familiar with this faulty part of the process.

RS:

My mom wanted to watch a screening with audio description, same thing happened. It didn’t work. The exciting thing with that is the manager found out apologized profusely , they said it was a glitch . There’s other technology coming out. I want to say Acti View?

[TR in conversation with RS:]
Yes Sir!

TR:
Acti View is the app that allows audio description consumers as well as those using captions and enhanced audio, with the means of directly downloading their access solution. For more on this service and how it came to be, check out the episode where we speak to one of the founders.

RS:
That kind of stuff is starting to happen. I can’t help but think that this is an opportunity. The popularity of podcasts, audio books and how easily accessible those are for this audio description is kind of in the same world. Commuters who happened to be sighted can enjoy the experience of audio description and that can only help the audience get more opportunities that look forward to enjoying it.

Aw I’m so excited.

TR:

It was nice to hear that Roy and I share a mutual excitement for Audio Description. It made for a good conversation.

Not only did I appreciate hearing his enthusiasm for the subject, listening to him accentuates his ability to employ several styles in his narration work. Roy says he tailors his voice to the genre.

RS:

I gotta be part of the stories. I can’t sound happy and joyous all the time. Laughs…

TR:

Next time you’re enjoying a television show or movie with Audio Description and you find yourself thinking that voice sounds familiar. there’s only one way to be certain. Wait until the end of the credits and you hear;

Audio: Read by Roy Samuelson. (Audio Description from “Jurassic World Fallen Kingdom”)

TR:

You can connect with Roy on social media;
On Twitter @RoySamuelson and
on Facebook you can find him as Roy Samuelson Biz or
visit Roy Samuelson.com

Audio bumper

Audio Description isn’t new. The lack of AD in movies and television programming over the years since its creation amounts to exclusion.

The result, many in the Blind and Low Vision community feel as though movies are just not for them.

In 2019 however, there’s lots of reasons to give television and movies with audio description a try.

We have
the 21st Century Telecommunications Act on our side – leading to more content.
And we have multiple accessible ways of consuming that content.

. If you haven’t yet experienced AD either at home or in a theater , I urge you to give it a try.

It’s not just entertaining television and movies, more documentaries are including description. Something I’m personally happy to see.

The process of making video accessible shouldn’t itself be inaccessible to the community it seeks to serve. Blind and low vision people should have access to these opportunities.

Blind people come from all backgrounds. We’re Black, Hispanic, Asian, Native as well as white. We’re straight, gay, lesbian transgender. As we call for television and movies to be more reflective of our society so should the voices that describe these movies to us.

How do you feel about Audio description?
Holla back!
We have the comments section on the blog, ReidMyMind.com.
The email; ReidMyMindRadio@gmail.com
The Reid My Mind Radio Feedback Line where you can leave a voice mail: 1 570-798-7343

I would really love voice messages that I can share on the podcast. If you don’t want to call, you can grab your smart phone and record a voice memo and email the finished recording to ReidMyMindRadio@gmail.com.

I’d love to hear and share the voices of those who are listening. If you want to send a message but don’t want it shared just say so and it’s all good.

We’re going to continue to explore Audio Description as we move through 2019. So my best advice for you to make sure you don’t miss that and everything else in store…

Subscribe!
Apple Podcast, Spotify, Google Podcast Sound Cloud, Stitcher, Tune In Radio or wherever you get podcasts.
Visit www.ReidMyMind.com

So there’s no confusion, that’s R to the E I D like my last name!

Audio: Dramatic closing music from Jurassic World, Falling Kingdom RS: “Cut to Black”

Audio: RMMRadio Outro Theme

TR:

Peace

Hide the transcript