Posts Tagged ‘Writer’

Charles Curtis Blackwell – Words of Meaning Empowerment & Inspiration

Wednesday, October 21st, 2020

A side Head shot of Charles Curtis Blackwell in a dark space leaning forward in thought with his pointer finger placed on his lip and the sunlight cascading across his face

Photo by Liz Moughon


Visual Artist, Writer and Poet Charles Curtis Blackwell, the subject of this year’s #Superfest2020 feature film God Given Talent shares stories of his life. We hear pivotal moments of influence including Jazz and school busing. Loss, Forgiveness, Purpose and of course Art!

His experience and approach to adjusting to vision loss is a must hear for anyone new to blindness. As evident in the episode, I too was inspired and hope this production, may I dare say, is a bit more artistic.

This episode is dedicated to the memory of one of my teachers; Sijo Abu Bakr. May We Remain!

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Transcript

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TR:

Audio: City soundscape merges into a nightclub atmosphere.

TR as on stage Host:

Greetings & Salutations brothers and sisters!
My name is Thomas Reid.

— Applause

Thank you, thank you very much!

Allow me to welcome you all to the Reid My Mind Lounge.!

— Jazz Music Begins

That’s right; today’s episode deserves an appropriate atmosphere.
I want you to sit back and really feel this one.
This was inspired. And y’all know I don’t use that word lightly.

Mr. Charles Curtis Blackwell is an artist. A visual artist, a writer, poet and definitely a story teller.

Where I come from, what he has to share, we call science or gems. Either way, he’s dropping it!
My hope is that you pick it up!

It all drops after the intro!

Audio: Reid My Mind Radio Theme

TR:

Influence!

Music – Rahsan Roland Kirk, Volunteer Slavery

CC:
Have you ever heard of Rahsaan Roland Kirk?

Jazz horn player. He was more than that. Originally from Columbus but he wound up in Newark. He was totally Blind. He played three saxophones at the same time. He had them hooked together. He influenced a lot of Jazz musicians with this thing called circular breathing. In one nostril and out of the other. Their still blowing. You think they’re holding the note.

I caught him live before I lost my eyesight.

Kind of influenced me years later. I says ok well just do whatever.

Somebody said hey man how you do that? I’ve done some crazy stuff with the poetry. I just said hey man; I’m kind of like Rahsaan Roland Kirk you just got to get crazy on stage. Just go ahead you know get wild, you know (laughs)!

Music Begins… Jazz Track 9 from Charles Curtis Blackwell In Color

I liked Jazz at an early age. They crammed classical down our throats going from 6th grade to 7th grade. It was Mozart, Bach, Beethoven you know, so I got turned off. I tried to flunk the test. Wound up in music anyway. (Laughs) next semester I transferred back to art.

I was doing art before 5th grade. I remember the instructor she pointed out this drawing that I did. It had the whole class’s attention.

maybe because art it just came easy. I didn’t know I was taking it for granted.

Audio: Historic Radio News Broadcast

“the Supreme Court ruled in 1954, that pupils cannot be segregated by law on the basis of race.”

CC:

I was in a busing program. They bused us to this high school from this neighborhood in Sacramento. I was in 9th grade; I think I was around 13 or 14. They didn’t want us there.

The first day we got there, there were white folks with pickets. The end of the school year it turned into a racial riot; 14 people arrested one in the hospital and another one that was supposed to be in the hospital, he was Black, they arrested him instead, they didn’t send him to the hospital. One of the most scary days of my life. I was small man and I was scared man, these cats could fight.

My folks continued to make me go to the school. I didn’t really want to go. And it seemed like it wasn’t a day past some racial remark, I don’t know if you want me to mention those names on here you know. It really messed with me.

There was one incident. They had a policy; you could put the gloves on and have a boxing thing. Oh cool!

This guy kept messing with me. Shoving me into lockers, kicking me, but he always had his buddies with him. His name was Souza. He was a distance runner, He was up for championship.

This went from year to the next year. So I’m from the neighborhood, right. This year we had the same PE class. I told the coach I want to put the gloves on. The first coach his name was McFadden, he was ok. He spoke to me and said ok, we’ll call him in. I trusted McFadden. The other coach, he was a new coach. I didn’t know about him because he wasn’t there the day of the riot. The day of the riot the teachers, they weren’t breaking up the fights, they were yelling you damn Niggers! (Pause) These were teachers. You couldn’t trust nobody.

Coach called him.

Man I’m busy tucking my shirt in, tightening up my tennis shoes, I’m getting ready you know.

They say yegh Charles says that you’ve been harassing him, you did this and you did that.

No, no, no I didn’t!

The new coach he was sitting there, he jumped up and said you a such and such liar I saw you do it. Man, I was knocked off my feet.

They turned to Souza and said what is you ready? He says no, no I don’t want to…

I’m getting teed off. He don’t want to box with me. They say well do you want to apologize to Blackwell (laughs…). I ain’t want no apology. (Laughs…)
The dude apologized, the coach says ok Charles can you accept his apology. I did but I didn’t really want to. (Laughs….)

Audio: Sound of white school busing protests.

All this racism stuff and busing program stuff, I had poor self-esteem.

I was like a D student. My idea was like finish high school, get a job as a janitor and you know bang, that was it. I didn’t have no big aspirations.

I got into reading.

Audio: School bell ringing

We had to write like a newspaper article. And the way I learned how to write was from reading the San Francisco Chronicle. They had real good writers at that time. And so that’s how I kind of picked up on expository writing from reading the newspaper. I wrote an article for this class and you didn’t write this. Someone else wrote it. You know, this is not your style of writing, you didn’t write this. I got a low grade. I said eh whatever. Sometimes they give you a low grade realizing oh wow, what they’re really telling you is you got raw brute talent.

Music transition…

I used to sell the paper it was called the Sacramento Observer, it was a Black newspaper. William Lee, he was over the paper. So I called the paper and spoke to him and I said what if I write a story about these Black students graduating from this busing program. It wasn’t me it was the class ahead of me. They were graduating. He said yeh, write it and get it to us we’ll run it. I said ok. Paper comes out I open up the paper looked inside, looked on the back of the paper I said wow that’s funny they said they were going to run the article. So I called the newspaper, Secretary answered. I said yeh, this is Charles Blackwell, she says yes! I wrote this article they said they were going to run the article in the newspaper, she says yes. I said well I looked inside the paper and I didn’t see then I looked on the back of the paper and I didn’t see it. She said well did you look on the front page? (Laughing) I was knocked off my feet man! I never would have thought they would put the article on the front page. That was poor self-esteem. man I was just flabbergasted, I sold extra copies. I would go door to door selling the paper man, you know. (Laughs…)

Music Transition

I got to college my whole world started changing.

I was an art major. I was trained to do sketches. Funny, I was talking to you earlier about Rahsaan Roland Kirk. So I had a copy of Down Beat Magazine. We had to turn in a final drawing. Kind of like a shadow of the person you know it’s like super imposed, almost like shading. I did it with my 20/20 eyesight just looking at it and doing it. And the instructor said you used the Opaque projector that’s not right. I said no I didn’t use no Opaque projector; I just did it from a magazine. He downgraded me but he was telling me that’s how good my eyesight was.

TR:

Loss!

Audio: Sound of ocean waves continues with van driving…

CC:

I was staying in Santa Cruz for a little while. I was with some friends so we get in the van and go to the ocean. Stop at one place and we’d go further up. The waves were coming in. So they get out and they go down.

I’m in the van, I’m reading this book. A little while later I get out. I go down but I’m going the wrong way. I’m thinking this is the path. I made the mistake of allowing the terrain to half way carry me. There was this big rock, I was going fast and I said well I’ll just go jump and go over the rock. I was assuming it would be a slant. There was a cliff. I didn’t know.

— brief silence

Temporarily paralyzed on one side, concussion, internal bleeding. Broke one small bone. It was my finger. I don’t know how that happened.

Ah man, I just knew I was going to die.

By the grace of God here I am.

I was in the hospital for like a week, seven eight days, something like that. I don’t know man, next thing I know I’m up and going and I returned to my place in Santa Cruz. A few days later I headed back to Sacramento trying to regroup.

I got back in college a few months later.

Finished that semester. Christmas time man, we partied like crazy. I went to every party there was and the next thing you know I met this girl; I was in love man I wanted to get married.

Music – Cymbal crescendo followed by a cymbal crash and flute begins…
Track 6 from Charles Curtis Blackwell, In Color
The unspeakable artist
Yearning, in and out of the room
If we sit in a dark room too long
We will meet the who
In the form of a tormented scream
Examining who we really are

Cymbal crash

CC:

I’m driving, I left college and I’m headed home and I remember I’m at this intersection and the horns are honking behind me and I had to turn. I barely made it.

Audio continues from Track 6 from Charles Curtis Blackwell, In Color

Cymbal crash

And has fearless as we may be to ourselves
Those ghostly cries are all of us laid out in the dark

CC:

They’re doing all these tests, morning to night.
They call it an Edema – it’s where I hit and the fluid went to a state of rest and when it returned back into motion it left my macular pale. Macular Degeneration.

Audio continues from Track 6 from Charles Curtis Blackwell, In Color

But if we stay in a dark room for so long we could see all the colors of the rainbow
Which reside on the other side where tombstones, grave sights pilferage and sorrows dwell.

CC:

They told me there’s nothing we can do. it all comes down to God. That was the end man, I just gave up.

I just dropped out of college. I didn’t go sign out or nothing.

Audio from Track 6 from Charles Curtis Blackwell, In Color.

Magenta unwrapped, indigo unveiled and cobalt for all those chance given up when the soul gave chase to something of an eastern religion.
For residing in a dark room for so long can cause one to worship the form instead of the creator.

CC:

It was like what do we do to carry us through and it’s kind of bad but I was out drinking hook up with some friends get a beer. Somebody else would have some hard liquor. I was doing that too drinking wine.

Audio from Track 6 from Charles Curtis Blackwell, In Color.

Many hales for the blood we fear running through our veins
Flowing upward like the Nile to our heads
In the dark room so sacred yet so cold the skin can’t breathe it

This tranquil rite of passage
Oh woman can you hear me in absence of gender
Nothing but flesh crawling in the dark
Solitary confinement

CC:

The worse thing I think I did, I didn’t know how to be… (Phone connection failing…)
Can you hear me any better? 1, 2, 3… that’s better?
Ok, I’ll turn around then …

I was raised southern family, my folks from Mississippi.

The idea, if you’re going to be with this person you going to be married, you gotta be able to provide. You got to be this man. The male role.

It ain’t about the male role, the macho, the strong…
So that was a big mistake I made trying to push her away, put her at a distance. I was 20. We get taught certain things but we realize that’s not going to help you in terms of dealing with life.

All I remember man was being in the bedroom and crying day in and day out. I would never tell her that’s what I was doing, which was really bad

When life hits in such a manner what do you got to hold onto. Faith and trying to trust God and trying to believe.

Audio Cymbal crash

Might be somebody there that could help you build (hope) and (encourage you to live).
(Each emphasized with echo audio effect…)

Audio: Subway train on tracks

CC:

Wound up at some friends. They were having a pool party at some apartment complex.

Audio: Train comes to screeching stop.
Audio from Track1 Charles Curtis Blackwell, In Color

Pre De Term Mind! Mind! Pre Det term Mind!

CC:

I wound up sleeping at one person’s house, another house.

Had a fight with my Dad, he snatched the phone. I was a psychological mess.

This friend, his name was Ken, we had met on a bus. And we were talking, we discovered we were both born on the same day. He came and visited me while I lost my eye sight. He was from the Santa Cruz area.

It was getting to the point where I really got depressed. I mean real, real serious depressed. And then I just kind of disappeared. Nobody knew where I was. I wound up at the bus station. I went on to Santa Cruz and caught up with ken. I started a fight with the landlord. I was going crazy! I didn’t want to pay no rent. (Laughs) Really wasn’t going to make no sense.

I wound up sleeping on the beach. I got a cheap room at a hotel. Something like six dollars a night. I think I only had a hundred.

I would hang out at this book store and listen to people talking.

I was standing on the corner, people came by and said hey brother, do you know anything about Jesus. I says yeh, God and Jesus I know, what I need right now is food, shelter and clothing. And they said brother we got food, shelter and clothing. I said what? It was a Christian Commune. So I went and stayed with them.

They had me on the laundry detail. They had a second hand store. I was with this other guy, the only other brother and we would go and pickup refrigerators and stoves and other stuff. When I look back on it things moved kind of fast. January I’m losing my sight and going bizerk in the head, the crying and everything. Around August I had disappeared . The early part of September I wound up with this commune. From September til about January I had returned back to my folks in Sacramento.

It got me back into the swing of things not feeling like I’m going to be an invalid for the rest of my life.

Audio from Track1 Charles Curtis Blackwell, In Color

Y’all gonna hear from me… someday!

An older Smokey voice off mic repeats

Y’all gonna hear from me… someday!

But the Blue line escapes all the mental anguish, mental breakdown of knots tied up inside.
(fades out)

Music – Curtis Mayfield Back to the World

CC:

Curtis Mayfield had this song called Back to the World.

I leave the commune and now I’m back in the world. The world is not the same as the commune. People there are kind of helpful and everything. Now I’m back in the world and I didn’t know what to do.

Even though I got back into the swing of things I hadn’t really adjusted all the way.

Signed up with Voc Rehab. They ask if you need a cane. I use a cane now but at first I didn’t. There main thing was trying to make a person productive in terms of society, getting a job, being trained for some kind of work situation. Then they had another part of going to college.

It was the social worker. She was with the welfare department at that time. She was this white lady and her isms started coming out. I made the mistake of when I left town, disappeared, I was 21, I got a beer. I called her of all people, I said I’m not going to be here, I’m gone. Where you going? Well I’m busy drinking a beer. I was dismantled anyway. Some people they don’t understand that because there all emphasis is like get you ready to be productive in society. Well how you going to be productive when inside, you’re a wreck. They don’t comprehend it. She’s saying uh, last time I spoke to Charles he was busy getting drunk on the phone and he was going to do this, this and this. And I was just sitting there , I know it was God. I just sat there and let her run off at the mouth. Huh!

“Words that have meaning” – CC with Ambient effect

Then the guy from Voc Rehab, well you really don’t seem like you know what you want to do in life. And I said oh, ok. I was just agreeing because I was in a different place spiritually. A little time past and I called him and said hey I think I want to go to college.

If you can get me two C’s we’ll fund you to go to college. So I did summer school and got two B’s but I was trying to get two A’s.

They always shifted me, changed, got a different guy for Voc. Rehab. This guy was totally Blind, ok? Man, I go in to meet with the dude and we’re talking. I’m saying oh, this is going to be ok because he’s totally Blind, he can relate to my situation, being partly Blind you know. We’re sitting there talking for over an hour. He’s interviewing me and at the very end of the interview he says ok, boy!

Man he did it in such a manner, I was just shocked.

“Words can help you be empowered!” – CC with Ambient effect

My Dad wasn’t the best communicator. I got back home, I was angry. My Dad was waxing the car. My Dad had a Cadillac (laughs). Picked up a rag, what the heck wax the car, maybe that will help me. I told him what had happened and my Dad, like I said, he wasn’t a real good communicator but this was one time he said something.

He said, he’s testing you.

He’s testing me?

Yeh, he’s testing you.

And that’s all my Dad said.

I milked that counselor like crazy. every time they had something to offer I grabbed it. So we had to bring our grades in, well it looks like you got some A’s here and you got a B and an A and another A . He says well, what kind of help do you need? Well, we got cassette recorders and do you need more reader service, I says oh yeh, oh yeh!

I get out of college and I could have changed counselors but I’m like no I’m gonna stay with this dude because I know what’ he’s like. He was testing me and I’m reading him.

I get out, well congratulations Charles. You can’t go to graduate school, we don’t have no money. We got a training program here.

You could have a cafeteria in a federal building.

I went to Montana, I went to Seattle, Los Angeles trying to get a job. Couldn’t get a job. The reality hit me, being partly Blind, ain’t no opportunities. I signed up!

When almost two weeks or a month we’re sitting at this table. This white dude is sitting next to me. He’s much older than me. He was losing his eyesight. This other guy’s across from me, he was Mexican, fresh out of Soledad prison, but he was in the program too. The guy in charge of the program it was his cafeteria, the guy comes up and says Charlie my boy, you talk back to my employees you can’t remain here you understand that. And I said yes! Just automatically. The white dude sitting next to me said that was F’d up. He was in his 40’s. You know something was wrong. The Mexican fresh out of Soledad said Charles are you ok?

I come back to the world, I’m being all well love one another be real open, be kind to people. This is the racism of America. Even though I may change the world hadn’t changed. I had to deal with it some kind of way. That’s the horror of this country. This is it, this is what’s on the table.

The next day man, I scared the slop out of that man. I threatened that man like crazy man. (laugh) They called a meeting with another state official. The man had me, the guy I had threatened.

Alright Charles, he says he’s scared to be around you. Well just what the F do you want.

“Words that can help you be inspired” – CC with Ambient effect

I came up during the 60’s man. I was involved in the Black student Union, we got 9 out of 10 demands for Black Studies and here this joker gonna do something racist like this.

You know how we learn from people. My mind went back to this brother, his name was Amyl Palmer, he was head of the Black Student Union. The brother could deal, he was way older than me. I leaned back and said what you got to offer?

You want to go to graduate school? I said that sounds workable. (Laughs) So I went to grad school. (Laughs)

CC:

A buddy of mine wrote a poem. I like real conversations.

Real conversations can really help you in life. What is it that helped me, you know, having real conversations like words that have meaning. Words can help you be empowered. Words that can help you be inspired.

Music Begins…

CC:
You gotta deal with the race and then you got to deal with people’s ignorance toward disability even with Black folks.

You think they’re going to relate to your blindness.

You might know, Berkley is where the center for independent living started. They were filing law suits way back in the 70’s. You could be in Berkley it could be a totally different story as opposed to being in Oakland. You get to Oakland, you get people like; Hey, is you blind? (Laughs…) I’ll be waiting for a bus. Hey I’m trying to catch the bus … it’s right there don’t you see the sign? And I’m carrying a cane now. You try to say ok, let it teach me something, try to just grin and bear it, but if you’re trying to hurry up and get somewhere. Let’s say there’s two people at the bus stop. I ask somebody and they say something ridiculous like it’s right there just look at it. I just turn to the next person and say, excuse me can you tell me which bus… and they tell me. And then the other person goes, oh hey I didn’t know you blind. I just walk off and leave them alone. I do them cold but it’s like what can I say to the person?

Every once in a while a person says oh excuse me I’m very sorry. Ok, cool.

I walked in a business before, with a cane, I’m trying to figure out why are they paying so much attention to me but it’s not a friendly attention it’s almost like do they think I’m going to steal something.

One of the worse things I got … I got off a bus one day and the dude said yeh, man, you got that game down, carrying that cane pretending to be Blind. I had some cuss words, I didn’t say them out loud cause it was night time and I ain’t ready for no fight. It’s kind of what they call the Pre Antebellum South the days before Helen Keller. A lot of this society is still like that.

I’m a church going brother. I remember I was at this church a little over a year ago, this friend named Joyce and Leo, hey Charles we’re going to this other church, come on and go, I said ok. I’m sitting there participating in the worship and then the minister calls someone here need to accept Jesus. And this lady is sitting behind me, she ain’t said nothing to me, she hasn’t given me a friendly greeting or nothing. She poked me on my shoulder , you can go up now and accept Jesus. (Laughs) I’ve been sitting there participating in the service and it’s like, no communication she just automatically assumed oh you Blind you need Jesus.

Sometimes there are store front churches and then there’s a good ol’ store front church That kind of backward condemning. maybe the reason you lost your eyesight is because you did something bad. You sinned. God is punishing you. If a person is just losing their eyesight and a person comes along and tells him something like that, oh God man, they’re condemned to hell. It could take them years to get out of that.

I remember this lady, it was Kay Stewart she setup a program for the Blind students at the college. And she was very hip. White lady from Texas. A very, very nice lady. A matter of fact she knew the racist counselor at Voc. Rehab. She wasn’t too fond of him. She was always whatever I can do to help you here at the college, knowing you weren’t going to get all the help you needed from Voc. Rehab. So she would do these cultural programs. When I finished college she got in touch with me and she asked me to go on this outing. She wanted me to talk to this guy, a white guy, he was just losing his eyesight. He was condemning himself, you know, God this and God that. I said hey man that’s not it God is not a condemning God. You got to find out about the love of God.

I had a real good family doctor and he would talk to you. Not like today, they’re running you through like a number. He said you lost your eyesight, take your defect and use it as your asset. Man, that was a strong piece of wisdom. And I passed that on to this other guy.

You find Blind people man, they know the Bible, backwards forward, sideways and down. But do they know how to get out of that condemning. Do they know how to get to that place of being and inspiration to someone else and being inspired and being (forgiving.)
(Emphasized with a slight echo effect)

CC:

I used to listen to Martin Luther King and James Farmer, Fannie Lou Hamer you know.

I’m in college, when I could see good, I’m sitting in front of the library one day reading an article and a dude came up and sat down. It was Souza. And he apologized to me. And I’m looking at him like what. I don’t know whether to listen to him or grab him. He said that he was dating this girl that was Asian and she confronted him. He realized it was his father that instilled all this racism in him. And I was listening and I said wow man!

It was like a Martin Luther King story man.

This time it was real.

Audio Bridge

One of the greatest lessons I learned man, the minister told me, he said, “Never be ashamed to apologize. Be it 8 to 80.”

The lady that I pushed away, it was fourteen years later.

I called her I said, I just want to apologize. She said no you don’t owe me no apology. I says well hey everything in my life is falling apart, I was in a writing project and it collapsed, nothing’s going right and I’m trying to get my life right with God. So I just want to tell you that I’m very sorry I did what I did to you.

I heard her crying on the other end of the phone and I realized I did the right thing.

I realized that I hurt her and I didn’t know I did.

When we apologize it’s like something spiritual takes place on the inside. When we forgive something happens on the inside in a good way.

TR:

Purpose!

CC:

I went to the college with my cousin Anita and I just went over to hang out. So I ran into the friend she used to be a neighbor, her name was Pat. She was much older than me. “Hey Charles, I heard you lost your eyesight.” I says yeh. She was you know very courteous, she knew me. “Come go to class with me.” So I went to a class with her and it was African American Literature. Eugene Redmond was the instructor. He was saying some stuff that caught my attention. I still remember he was presenting this book called “Black Suicides”. I was listening because I was at that point a year before because I had lost my eyesight. By the grace of God it didn’t happen. Black people they say we don’t do this, but here’s a book called “Black Suicides.”. We don’t do it when in fact we do. I says oh wow, this cat is saying something.

“Graduate school!” – CC with Ambient effect

One of the best things I did is sign up , it was an independent study with Eugene Redmond. He was also the editor of the Henry Dumas collection. I don’t know if you heard of Henry Dumas, but Henry Dumas did this poem I still remember;

America!

If an eagle be imprisoned on the back of a coin and that coin is tossed into the sky

That coin may dwindle, that coin may spindle, but that eagle will never fly.

Henry Dumas was shot and killed by a New York subway cop.

Redmond became the editor of the collection. Redmond did a book called Drum Voices. It’s the history and development of African American poets going all the way back to slavery and coming on up to Hakim Muributu, Sonia Sanchez, Amir Baraka. He was always an encouragement and I got an A.

Years later I was having dinner with this brother he was a political person in Sacramento, Grandin Johnson, trying to push for affirmative action years ago. So he had brought Eugene Redmond to the college for a part of Black Studies. I told him yeh, Redmond, I took a class with him and he gave me an A. He looked at me and he said; (pause) Redmond, didn’t give out A’s. If you got an A man you must have been producing some serious work. I kind of hung my head and said well he liked my work. He said I’m telling you he didn’t give out A’s. You had to work to get an A. He really dropped a bomb on me.

I kept in touch with Eugene Redmond, he’s published me about six different times in Drum Voices Review and some other publications too.

Music begins… Slow piano riff moves into a cool Hip Hop groove.

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

I’m at this place now it’s called Youth Spirit Artworks in Berkley, working with homeless young adults in high school. I try to use stuff like ok, let’s write about the last time someone said to you I love you. The last time you were angry and you felt like you wanted to kill somebody. How you see the situation where the guy is beaten to death on the street and the cop put his knee on his neck. Let’s write about that. Let’s write about mercy. What does it mean for you to be merciful to someone else . And I’m trying to use writing to confront.

I really embrace the Black Live Matter because we fought for the demands for Black Studies apparently somebody was listening.

Audio: Prison door slams and continues with ambient sound of a prison.

I used to do writer’s workshops in prisons and I’d go in and try to be an inspiration and encouragement to those people locked up behind bars with this talent that God gave me.

I did a presentation at Folsom prison and this inmate he wasn’t sitting with his back to the wall. You had to pay attention to that. Other people sitting at the table. It might have been ten people. This one guy when it was over turned out he was a point man in Vietnam and he wiped out a whole family drunk. If it hadn’t been for Vietnam he wouldn’t have did what he did.

He says hey can I ask you a question? I said yeh, go right ahead. He says when you lost your eyesight did you lose your will to live?

Man, I was shocked by that question. I really didn’t want to answer his question, but you deal with inmates they’ll be real with you so it’s best to be real with them. It’ll protect you. I said yeh, I lost my will to live. He says hey brother, he took my hand and said I’m glad you made that decision to live because you’ve really been an inspiration here today. Man, that dude gave me a PhD.(Laughs) He stamped it on my forehead

I got to be like I said, an inspiration, encouragement. Be it if I’m at a prison, at a school, wherever it is try to take this talent, try to inspire, encourage someone to live.

Music ends

TR:

Art!

I started off being trained to do a sketch of you in a minute and a half. Hand and eye.

I can’t do that anymore. I can’t set something in front of me draw it make it look like realism. That’s out!

I had to take a different approach. When I got back into art I was a Sacramento County CETA Artist. CETA program that’s the Comprehensive Employment and Training Act, Jimmy Carter was president.

I was doing stuff that I knew from college because I had been out of art for about seven or eight years.

I did these large carrots, seven foot carrots (laughs). These were paintings. The middle of the carrot had another piece of canvas sewed on it was blue, called “This Carrot Got the Blues.”

I did these large pieces, I took styro foam balls and I stuffed them with Latex paint and then I painted a jet seal over that. It was Braille dots on canvas, it said “Do Not Touch”. And then another one said (laughing) “Read this with left hand only”

I was doing stuff that was workable for my blindness.

Music – Jazz drummer sol – off beat groove Track 9, Charles Curtis Blackwell, In Color

Allen Gordon he was the head of the Art department at one time at Cal State Sacramento. He introduced me to the NCA a group of Black artists from around the country. National Conference of Artists, Margaret Burrows out of Chicago, but even before that time he says oh you’re doing some African art. I says I ain’t took no classes. He said, it’s in you; line, shape, color, rhythm movement. I says oh wow! I’ve been doing more and more of that.

I cover the paper with oil pastels and then I come over it with water down acrylics doing line drawings of African masks on paper. or maybe drummers or jazz musicians on paper. Then I started doing African sculptures playing saxophones or playing a flute, playing a bass. African dancers. Using my blindness and doing abstracts. It might look like a Jazz drummer, a horn player, a dancer with all this abstract stuff you know,

line shape, rhythm color, movement. (Delayed effect on the groove of the beat.)

I’m using my blindness to create the art piece and get to my own originality.

Music ends!

I use my blindness in terms of writing. It’s not what you say, it’s what you don’t say.

Sometime I’m producing art, well I’ll stop and I’ll do some writing. So in a sense the art is influencing the writing.

I produce some writing, well let me set this down and I’ll produce some art. So the writing is influencing the art. Inspiring on the inside- give me some encouragement and inspiration.

I get tired of that well, I’ll go out here and catch a performance, theater play some jazz. I’ll go to an art gallery and see what they’re doing or go catch some poets. I might even sit there and don’t say nothing . I don’t even want to read I just want to you know listen to other people. Right now it ain’t happening. Truthfully I I’ve gotten depressed. Five months I’ve only finished one piece. I started about nine others and finished one. That ain’t saying nothing. I’m usually producing anywhere from one to three pieces a week. So that tells you this thing has hit me in such a manner and all I could do is relate to other people when they’re saying the same thing, feeling uninspired. It’s hard it’s really hard to deal with and I wish I knew some answers. Even I try to get to the spiritual place man I’m blocked on that too. I don’t know maybe you , hey you got some ideas tell me. (Laughs)

The sad part about it is I don’t have a computer and I use visual tech that enlarges print. And I spend a lot of time on that writing. In some ways I wish I had the hook up with the computer but I think I’d be lost.

I don’t take pride in it but I’m computer ignorant and I know I’m ignorant when you get one of these little five or six year olds in here and they know how to hit all the buttons and get everything just right. (Laughs) I know I’m out of the loop.

“Whatever you can do to drum up hope, do it!” – CC with Ambient effect

Music begins.

I never would have dreamed I’d be doing what I’m doing.
I’ve been published, locally nationally and internationally. I’ve had my artwork shown. Some people have my artwork in foreign countries. I’ve had theater plays produced.

Like my Grandmother used to say she said the Lord works in mysterious ways and has wonders to be performed. Maybe that would be my story. I look back on it I’m baffled.

I remember a lady was gonna date me, oh he ain’t got no job, he’s not doing this, he can’t do this. Somebody else said,

Music pauses

apparently you don’t know the brother. ..

My name is Charles Curtis Blackwell!

TR:

Well, it’s a privilege and honor to say Mr. Charles Curtis Blackwell,
It’s official! you Sir are a part of the Reid My Mind Radio family.

Music begins.

While Mr. Blackwell does not have a computer, he does have a Facebook page at Charles Curtis Blackwell. I’ll link to it on this episodes blog post.

I don’t know about you but I’ve been inspired. He said, his art influences his writing and his writing influences his art. That resonates with me. Inspiration from within.

If you’ve been inspired I hope you will let that influence you…

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

Like my last name.

Audio: Reid My Mind Outro

CC:
“Laughs, I was knocked off my feet man!”

TR:

Peace!

Hide the transcript

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

Wednesday, August 19th, 2020

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

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

Listen

Resources

Transcript

Show the transcript

TR:

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

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

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

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

The answers and more are up next.

Audio: Reid My Mind Theme Music

Eric:

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

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

TR:

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

Eric:

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

TR:

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

Eric:

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

TR:

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

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

First, budgets.

Audio: Music…

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

Audio: Sound of a Adding Machine

TR:

We’re talking about a few thousand dollars.

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

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

Eric:

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

[TR in conversation with Eric:]

Well, that’s just parents! Laughs…

Eric:

You know!

TR:

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

[TR in conversation with Eric:]

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

Eric:

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

TR:

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

Eric:

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

Audio: Music ends in reverse.

TR:

Who watches on DVD anymore? We’re streaming.

Eric:

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

TR:

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

Eric:

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

TR:

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

Eric:

That service would have to commission their own AD track.

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

TR:

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

Eric:

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

TR:

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

Eric:

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

TR:

As consumers, we want both; quality and quantity.

Eric:

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

TR:

Shout out to Ben & Jerry’s!

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

Eric:

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

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

Audio: Music

TR:

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

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

Eric:

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

TR:

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

Eric:

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

TR:

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

Eric:

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

TR:

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

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

Audio: Music ends in reverse.

Liz:

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

TR:

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

Liz:

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

[TR in conversation with Liz:]

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

Liz:

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

TR:

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

Liz:

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

TR:

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

Liz:

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

Audio: Music

[TR in conversation with Liz:]

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

Liz:

Yeh… (Laughs)

[TR in conversation with Liz:]

Laughs… Oh boy! Wow! Aw man.

Liz:

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

[TR in conversation with Liz:]

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

Liz:

Laughing… Oh, thank you!

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

TR:

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

Liz:

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

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

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

TR:

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

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

Audio: Music ends

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

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

Liz:

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

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

TR:

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

Liz:

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

[TR in conversation with Liz:]

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

Liz:

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

TR:

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

Liz:

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

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

[TR in conversation with Liz:]

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

Liz:

Right, and to not make the assumption.

[TR in conversation with Liz:]

Absolutely.

Liz:

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

TR:

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

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

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

Liz:

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

TR:

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

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

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

Liz:

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

Eric:

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

TR:

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

Eric:

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

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

Eric:

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

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

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

Eric:

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

Eric:

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

TR:

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

Eric:

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

TR:

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

Eric:

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

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

Eric:

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

TR:

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

Eric:

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

TR:

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

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

Eric:

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

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

TR:

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

Eric:

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

TR:

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

Eric:

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

TR:

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

Eric:

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

TR:

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

Eric:

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

TR:

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

Eric:

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

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

TR:

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

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

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

Eric:

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

TR:

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

Eric:

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

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

TR:

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

Eric:

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

TR:

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

Eric:

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

Audio: Music

TR:

Feedback should be a gift, so make it constructive.

Eric:

Don’t just say hey you suck!

Well, thanks, that doesn’t really help!

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

TR:

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

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

Reach out…

Eric:

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

TR:

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

TR:

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

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

What about the perspective of those producing AD?

[TR in conversation with Liz:]

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

Liz:

That’s a really good question. (Long Pause) Selfishly, it plays to my skill sets really well. It requires a large vocabulary, I’ve been a bookworm my entire life, but it also has really strict parameters. Audio Description provides that framework I find challenging in a really stimulating way. And on top of that it provides a service. That creates meaning for me.I go to work every day and I get to write, think hard about the best way, the most vivid and concise way to convey something that’s on screen. So that someone’s who’s listening to it will get the same feeling that I have watching it. And to help bring us all in to the same level. Especially since I have become more familiar with the Disabled and Blind and Low vision community. I have friends in that community now. I care about their experience.

Audio: Stay Golden

TR:

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

Eric:

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

TR:

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

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

Eric:

You suck!

TR:

That really isn’t helpful!

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

Like my last name.

Audio: Reid My Mind Outro

Peace!

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