Reid My Mind

TR:

Music begins, a pulsating ominous synth that opens up to a dramatic mid-tempo beat.

TR:

What’s up Reid My Mind Radio?

We’re in between seasons but I wanted to share some thoughts with the family.

Truth is, I wish I didn’t feel obligated to share these thoughts on this particular subject.
I’m hoping one day it won’t be necessary.

Several years ago now, I produced this episode that has really sort of attached itself to me.
It’s the Black Panther episode.
The episode I almost threw away. I didn’t think anyone would care.
I published it anyway.

People cared!

I think.

I’m just ready to move past it.
Meaning, I would love to see those who say they understand and support the need for Audio description to be more culturally aware and competent, put it into practice.

but, it’s like…
Audio sample: “Just when I thought I was out, they pull me back in.” From The Godfather.

— Reid My Mind Radio Intro Music

Sounds of a thunder and rain storm.

TR:

I don’t believe in conspiracy theories.

— Thunder clap

At least that’s how I felt before the phone call.

A day, I’ll never forget.
It was a Thursday.
Damn, it could’ve been Friday.
Either way… I don’t normally answer calls from unknown numbers.
Yet, this one evening, my cell phone rang and Voice Over told me to answer the phone.
Yo! That freaked me out.

Then, I realized after answering the phone that I heard it wrong.
The caller id really said Ann Sur Fonne. I think it’s French.

Wherever she’s from, she called to tell me a bit about the AD Illuminati.

— Thunder clap!

Well, sort of…

This mysterious phone call came on the same day my daughter Riana and I finally had the chance to sit together and watch Judas and the Black Messiah.

It’s a film that explores the FBI’s murder of Fred Hampton. The 21 year old Chairman of the Illinois Black Panther Party who was in the midst of uniting black and other organizations focusing on advancing rights and opportunities for Black, brown and other marginalized people.

The movie was first released in February 21 both in theaters and on HBOMax. I’m not certain about the theater release, but I do know that HBO Max did not yet provide audio description. My daughter refused to watch the film until it had AD and she could watch with her Dad. That’s me y’all!

It wasn’t until sometime during the summer of 2021 that the film received an audio description track on HBO.

Almost a year since its release, January 1, 2022, Riana and I sat down to watch the film.

As far as the movie goes, the two stars, Daniel Kaluuya and Lakeith Stanfield, playing Chairman Fred Hampton and the sell out under cover Bill O’Neil respectively, were both amazing.

It’s never easy to just watch a movie like this as if it were just a story. It’s not. It’s a reminder of a not so distant history a sobering acknowledgment that those in power won’t hesitate to kill when their way of life is threatened.

History shows, that’s often, when Black people are seeking their freedom, standing up for their rights and when there’s a hint of creating a unified front that challenges the establishment.

In 2018, I published an episode that focused on my response to the audio description in Marvel’s Black panther. If you never heard that, I’ll provide a link and hope you’ll take a listen. In summary, I discuss my reaction to the selected narrator. The episode actually goes into much more, but that’s often what’s recalled. I refer to the narrator as the voice of the colonizer – a British white man.

Unlike Marvel’s Black Panther, Judas and the Black Messiah doesn’t originate or belong to the MCU or the Marvel Comic Universe. This story is real. It belongs to us, this is the Black People’s Black Panthers.

I found it pretty ironic that , once again a film featuring a Black Panther is described by a British sounding white man.

— A mix of movie scenes with a dramatic “No” Including “Back to the Future” and “Independence Day”.

I always feel obligated to say, I have nothing against this person as an individual, he’s probably a nice guy.

Truth is, I really don’t have to. This isn’t about one person. It’s about an entire community of people being overlooked.

Anyone choosing to focus on individuals should really ask themselves if they’re really trying to deflect and avoid the real conversation.

— Cell Phone ringing

Not long after my daughter and I finished our post film review and conversation, my cell phone rang.

Yeah, that’s really the ring tone I use. I guess I’m nostalgic for telephones with actual bells on them.

Voice Over saying Ann Sur Fonne!

So I just had to pick it up.

TR in Conversation Flashback::
Hello? (Says hesitantly)

Ann:
What did you think of the AD?

TR in Conversation Flashback:
Excuse me?

Ann:
What did you think of the AD?

TR in Conversation Flashback:
Who’s this?

Ann:
I’m sorry Thomas, this is Ann Sur Fonne, you don’t know me… (Continues talking but fades down to an unintelligible murmur, with narration taking over)

TR:

She went on to explain she’s been listening, watching and reading the things that I and others have been talking about audio description and the need for more inclusion and proper representation of voices in all films especially those that are culturally specific.

She wouldn’t say exactly what power she had but she said she’s on the inside and wants to see change.

Ann:
Have you heard of the AD Illuminati?

TR in Conversation Flashback:
I have but always just thought that was a joke. I thought it referred to [beep]

Ann:
Thomas, whatever you do you can’t say those names out loud or use on your podcast. Your life is in danger if you do.

TR in Conversation Flashback:
What the heck! It’s audio description.

Ann:
Thomas, you said it before and made a damn t-shirt, it’s about more than entertainment.

TR:
Ann talked a bit more. Each time I tried to get more information or even some hint of why using Black voices in films about Black people is an issue, she’d just talk about how much she likes the podcast.

Ann:
I really like your podcast.

TR in Conversation Flashback:
Oh, thank you! Continues talking but fades out and narration over takes it.

TR:

I really need to work on not being easily distracted.

I did get to ask her if there’s any specific connection to Black Panther? I mean

I can’t tell you is all she’d say. Continue to be aware, pay attention and look beyond what you see. I reminded her I’m Blind. We laughed.

Ann:
But seriously, continue to be observant. There are things happening and people claiming they care and want to see change. But as you know now, the AD Illuminati is real and right now, their goals don’t align with yours.

TR in Conversation Flashback:
What exactly are their goals?

Ann:
Nice try Tomas, but I’m already risking my life calling you. I’ll be in touch when I can. Whenever you hear your phone say Ann Sur Fonne make sure you answer. No matter the time of day or night.
Goodbye.

TR:

And that was it, she was gone.

I didn’t mention this to anyone for a day or so because I was just shook.
I finally decided to tell my wife. She just stared at me. I took my phone out to show her my call history.

There was no record of the call.

“I didn’t dream it! I didn’t dream it!” I muttered to myself as I walked off to be alone.

Classic Radio Announcer:
“We interrupt this program for a special news announcement”

Hi, I’m Cheryl Green
And I’m Thomas Reid

Cheryl: That… wait, you don’t look like Cheryl Green.

Thomas: What do you mean?

Cheryl: Well, I mean Cheryl she’s got hair on her head, kinda curly medium length brown hair and she’s got black framed glasses and olive skin.

Thomas: Ok, now that you say that, you don’t sound like Thomas Reid. I think he’s a brown skin Black man with a shaven head and where’s shades and has a full beard and might be wearing like a Wu Tang Clan t-shirt or something like that.

Cheryl: But, we’re both disabled podcasters.

Thomas: Do you think we should say podcasters with disabilities?
Cheryl: – Oh oh, you know, let’s do a podcast about that.
Thomas: Mm! Good idea!

Cheryl: Actually, Thomas and I are working on a project that’s all about disabled podcasts…
It’s called… Oh wait, well, we don’t actually have a name just yet so we’re calling it… oh wait, we don’t actually have the name yet. What should we call it?

Thomas: We should call it, project, project!

Cheryl: Yeh, I love it! Project, Project or like I don’t know, PODAccess.

Thomas: Ok, we’ll go with PodAccess, for now.
With funding from the Disability Visibility Project we’re creating a space for disabled podcasters or
content creators to
Connect with each other, maybe be discovered by audiences interested in your content or share skills and resources

Cheryl: So we want to hear from you…
Current or former Deaf or Disabled podcasters, Deaf or Disabled people interested in starting a podcast or consumers of content about disability or Deafness.

Thomas: We’ve created a survey, that should only take about 20 minutes to complete and we’d really love your feedback.

Cheryl: You can find the survey at https://bit.ly/PODAccess
On that survey you can sign up to receive more information about
Project Project as it develops.

Thomas: Again, fill out the survey at http://bit.ly/PODAccess

Cheryl: Ah, nice job Cheryl!
Thomas: Ah, , you too Thomas! (Laughs)

Classic Radio Announcer: Now back to our show.

TR:
I needed something light to take my mind off this for a while.

I decided to watch the final season of Insecure also on HBO Max.

— Music begins, an anxious melody that continues of a mid-tempo Hip Hop beat. Hip hop

HBO did not provide description for their shows until 2021.

prior to this final season, Blind folks interested in watching Insecure with audio description would need to find an alternative way of accessing the series. Allegedly available somewhere.

If you’re not familiar with issa rae’s Insecure, according to her the show “examines “the complexities of ‘Blackness’ and the reality that you can’t escape being Black.”

While the show is a “black show” it’s characters and subject is universal and relatable.

Sort of like what people with disabilities like to think about disabled content. But you know many non-disabled hear that word and are like oh, that’s not for me!

Similarly, white disabled can hear black and disabled and say, oh boy that’s not for me.

Anyway! Humanity, right?

Insecure is a well done series. Young black people just living their lives searching and figuring out who they are and where they want to go. From Black law firms to the streets , all sorts of Black.

Well, guess what wasn’t Black?
That’s right! The audio description narrator.

And here’s where it gets tricky for me personally. I like and know the narrator. She’s been on the podcast y’all. That makes her Reid My Mind Radio Family!

Let’s be clear, I’m not trying to put people on blast or shame someone for their decisions. To return to the Godfather for a second…
“It’s not personal Sonny, It’s strictly business.”

That being the case, I won’t drop manes, but feel free to look it up. In fact, go ahead and watch the show, it’s entertaining and I support Black content creators.

I really wanted to call Ann Sur Fonne. I wanted to ask her what could be done about this. Does this at all relate to the AD Illuminati?

No need. I’m sure she’d be vague or even worse tell me how much she likes the podcast to distract me.

I really do need to stop falling for that one.

She did encourage me to continue to speak on it and suggested I do the same for others.

So that’s what I’m doing.

Is there really an AD Illuminati?

Is all of this part of some conspiracy?

I believe that those in charge are doing what they know. I recognize that it’s not malicious or done with bad intentions. Folks have jobs to do and deadlines to meet and all sorts of limited resources.

This has been the way it’s been done for years. It goes back to the early decision makers in audio description. They did great things, but they also bear responsibility for where we are today. They chose to not see color. They chose not to seek out culturally appropriate voices. They taught and some still teach the newbies. Has the curriculum been updated or is it the same ol’ thing. You know, that good Ol’ AD!?

I know for many, this isn’t a big deal, in comparison to other issues of injustice or representation. But I disagree! I think it’s just another one. One that will never grab the attention of the mainstream.
It’s black and disabled.

What they don’t see are the core elements that make up the other injustices;
White supremacy
Systemic racism
Ableism, It’s for the Blind so they’ll be happy with whatever we give them.

Ouch!

Yes, hard to hear? Well, it’s not easy to say.

Music begins, an optimistic, bouncy Hip Hop groove.

I offered some possible solutions in the Black Panther episode from 2018.

One worth repeating is seeing the selection of narrator as a casting choice and therefore a responsibility of the director and production team.

If content creators were more aware and involved in the audio description process, I don’t believe we’d have as many of these issues.

I don’t think Issa Rae is aware of the voice providing audio description narration for her show.

, when asked on the red carpet of an award show who she was rooting for, famously and unapologetically proclaimed;

Issa Rae: “Everybody Black. I am. Betting on Black tonight!”

Here’s another consideration for addressing this issue. Individual responsibility.

It’s not just the narrator, audio description is a team sport. No matter where you fall within the audio description life cycle, you play a role.

As I am aware of the process today, broadcasters who commission the AD track have the majority of the power. They are the true shot callers. They dictate what they want the script to look like and the type of voice they want to hear.

AD Directors, Managers, decision makers in general, it’s time to retire the excuses;
“we don’t have anyone on our team.”
“We had such a tight deadline to produce this track”
“We don’t know where to find qualified talent”
All of these excuses just represent the problem. It’s time for you to expand your network, recruit talent and be aware and prepared.

I’ve seen people find qualified voice talent … open your networks, they’re out here.

AD professionals, you have a choice.
If you’re aware of the inequity and say you want to see the change, well, recognize your power.

Narrators!

I find it really hard to believe that you don’t recognize when you’re not right for the project. Rather than finding a way to personally justify that with yourself, why not use your influence to suggest that someone else is hired for the position? Perhaps it’s someone you know and recommend, but in general, speaking up about the subject, being an ally, well that’s powerful.

— “You will not replace us” Chants of Alt Right Mob.
TR:

Is this call for equitable representation threatening?

When it comes to the voice of the narrator on films that are culturally specific, we’re talking about a small piece of the pie. The total number of films and television shows that are focused on BIPOC stories is still a fraction of the total films made today.

White narrators get plenty of work. I don’t see any reason for them to feel threatened by these comments.

This issue is just one part of a much bigger problem.
It goes beyond films like Black Panther or In the Heights. Shows like Insecure. It goes beyond the voice. It’s about the visibility of Black and other people of color

That’s seeing and acknowledging color on screen and stage. It’s recognizing that Blind and Low Vision includes people of color.

Writers!

If you’re assigned to a project, recognize your limitations and ask for help, seek the proper input or suggest that you’re not right for the job.

We don’t need color blind writers.

No silly, I’m not talking about those who can’t see red green or blue, but rather black and brown.

It’s one thing to see Black and brown people when we’re in the majority. At that point, I guess you can’t help it, right?

What about the other films that have a so called diverse cast and include BIPOC characters. The lack of audio description erases them from the Blind consumers screen; rendering people of color invisible.

For Black people and others of color, striving to be seen, heard and in general represented takes place in all aspects of life. What we experience in audio description isn’t unique, it’s a part of that systemic problem that persists throughout society. We can’t wait for it to be resolved outside of audio description and then trickle down. Why not do what we can to address these underlying issues that we’ve all inherited. At the very least acknowledge their existence and commit to doing better.

That’s what this episode is all about today. Doing better…

Music begins, a dramatic piano riff leads into a strong steady beat.

I reached out to some people who I know feel strongly about this issue. Audio description providers who already commit to this idea fully. The Social Audio Description Team who I featured here on the podcast last year.

Together, we’re drafting a pledge that we will invite everyone to sign. That is, everyone who believes in making audio description a representative, equitable and fair space. Those who want to truly see the world in all of its beautiful identities, shapes, sizes, abilities, ….

Do I think a pledge will resolve this? Not necessarily. Right now, I’m interested in eliminating the excuses. We’re in 2022, if you’re not interested in the proper representation of people of color then be firm in your stance and say that.

Don’t tell the community you’re for something while your actions say otherwise.

If you’re in support, raise your volume. I’m talking to consumers as well as AD professionals.

— From Judas and the Black Messiah:
“The whole neighborhood came out. Pushers, grannies, Crowns”
Fred Hampton:
Anywhere there’s people, there’s power”

TR:

I’m hoping to have this pledge published shortly and plan to report back to you. I’ll definitely link to the pledge from ReidMyMind .com and share on my social media pages; Facebook and Instagram @ReidMyMindRadio and
Twitter that’s @tsreid.

Join me in pledging to make audio description or our little microcosm of the world into an example of what we want this place to be. We can’t wait for the rest of them.

In the meantime, according to Ann Sur Fonne, she’s been putting me in position to meet people who want to see audio description recognized for the art it is. People ready and willing to help make AD better for all. People you’re going to meet in this upcoming season of Flipping the Script on Audio Description.
We’re talking:
AD in the lab; Creative approach or Compliance – do we have to choose?
Blind AD professionals, stand up, ya better recognize!
Get some AD to describe this outfit… Blind people are fly too!
And get ready, I’m bringing you La Professora…

The Flipping the Script on Audio Description season kicks-off Tuesday, June 14, 2022.

Come rock with Reid My Mind Radio wherever you get podcasts.
We have transcripts and more at ReidMyMind.com
Just remember, that’s R to the E I D!
(“D! And that’s me in the place to be.” Slick Rick)
Ann Sur Fonne:
“Oh, like your last name Thomas!”

— Reid My Mind Radio outro
Peace!

Hide the transcript

Sound of Vocal booth closing.

TR:

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

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

Sound of Dream Harp!

The Great Kazoo:

(Yawning!) You called?

TR in dream sequence:

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

The Great Kazoo:

When? Of course not I’ve been sleeping.

TR:

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

The Great Kazoo:

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

TR:

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

The Great Kazoo:

Why don’t you try counting on yourself.

TR:

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

Drop the beat!

Music begins with a Hip Hop Kick drum & bass.

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

The Great Kazoo:

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

Sound of reversing Dream Harp…

TR:

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

The Great Kazoo:

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

Audio: Reid My Mind Theme Music

TR:

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

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

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

Now let me introduce you to my guests.

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

TR:

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

(Music begins)

Alejandra:

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

TR:

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

Alejandra:

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

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

TR:

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

Alejandra:

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

TR:

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

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

Liz:

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

TR:

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

Liz:

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

TR:

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

Liz:

So that really got me hooked!

Chanelle:

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

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

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

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

[TR in conversation with Chanelle:]

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

Chanelle:

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

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

(Music ends!)

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

TR:

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

Liz:

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

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

Liz:

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

TR:

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

Liz:

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

TR:

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

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

TR:

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

Liz:

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

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

It’s about writing and saying what you saw.

(Music begins)

Alejandra:

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

TR:

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

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

Alejandra:

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

Hmm , hmmm! I like that. (Laughs)

Alejandra:

Laughs…

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

TR:

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

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

Alejandra:

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

TR:

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

Alejandra:

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

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

(Music slowly fades to silence.)

[TR in conversation with Liz:]

have you always identified as disabled?

Liz:

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

[TR in conversation with Liz:]

How do those identities impact how you write description.

Liz:

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

TR:

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

Liz:

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

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

TR:

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

Liz:

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

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

TR:

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

I would offer that it’s always important.

TR:

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

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

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

Liz:

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

Chanelle:

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

(DJ Scratch… Music begins)

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

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

TR:

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

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

Liz:

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

TR:

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

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

Alejandra brings up an interesting point around identity.

Alejandra:

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

TR:

And yet…

Alejandra:

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

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

TR:

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

(Music ends)

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

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

TR:

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

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

TR:

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

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

Liz:

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

TR:

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

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

Chanelle:

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

TR:

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

(Music begins)

Alejandra:

Here’s the thing.

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

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

TR:

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

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

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

Liz Thomson and Chanelle Carson.

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

Sound of News Breaking Segment…

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

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

Subscribe wherever you get podcasts!
Transcripts & more are over at ReidMyMind.com. And yes, that’s R to the E I D
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Like my last name.

Audio from The Flintstones:

Barney Rubble:

Do you think he’ll be back?

Fred Flintstone:

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

Audio: Reid My Mind Outro

Peace!

Flintstones continues…
Barney Rubble:

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

Fred Flintstone:

Ah, looks that way. Goodnight, Barn.

Barney Rubble:

Goodnight Fred.

Hide the transcript

Audio: Record player static… “Back in the Day” Instrumental, Ahmad

TR:

Every now and then I like to tell my kids about my experience growing up. It puts things into a perspective. At least that’s my intent. They usually just make fun of me.

I tell them how as a young child growing up in the 70’s we used to get dressed up to go to the movies. I mean actually put on our good clothes. For me that meant dress pants which more than likely was polyester. Hard bottom shoes and dress shirts or sweaters.

(“Yuk”)

Movies were an experience.

Over the years that experience changed. By the early 80’s, I didn’t get dressed up and go downtown with my family, we now had a local theater. I could go with my friends, choose my own clothes. At first that was during the day time, but then as I got a bit older and a new multiplex theater was built in the borough, we all traveled there on Friday and Saturday nights.

Audio: Krush Groove Movie Trailer…

RIP, to the Whitestone Theater in the Bronx!

The experience continued to change. I changed as well. I began to prefer going to the movies during the day again. Eventually with my own family.

For a few years, I stopped going to the movies altogether. That was when I could no longer see the screen. I didn’t return until a theater about 30 minutes away from my home began offering Audio Description. That process wasn’t very smooth at first, but it did get better.

Now I’m back to my family trying to tell me what to wear.

Today, Covid 19 has obviously made adaptation a requirement for just about everything in our society. As we’ve seen, these adaptations paired with accessibility can equal opportunity. It’s not permanent, we know experiences evolve. When it’s inclusive, well I think that’s a good thing!

By the way, there’s nothing wrong with my sweat-shirts!

I’m Thomas Reid, your host and producer!
You’re rockin’ with Reid My Mind Radio!

Audio: Reid My Mind Theme Music

Cathy:

My name is Cathy kudlick and I’m Director of the Paul K. Longmore Institute on Disability at San Francisco State University. I should spell out Longmore because so many people here it as lawn mower, but it’s Longmore. It’s a disability cultural center. We try to kind of get people to think about disability in new and creative and innovative ways.

I’m a History professor in addition to my role as Director at the Longmore Institute and I teach Disability History among other things and I come at this largely as somebody who grew up with a serious vision impairment and was in complete denial through much of my life trying to pass and pretend and all of those things and then a random encounter with somebody and then started to read more about blindness tuff and disability stuff and all of that led to kind of start to say hey there’s nothing to be ashamed of here so why not embrace what’s really cool about this and think about it in new ways.

TR:

Thinking about disability in new ways. We’re going to come back to that.

If you’ve been riding with Reid My Mind Radio, you’re probably thinking we’re about to dive into Cathy’s journey. It’s obvious, Cathy’s story falls in line with this podcast’s mission. Well, for now that’s not the case. She has however, agreed to come back to share her story on a future episode.

Today’s episode is all about the…

(Audio: “Super, Super Super, from Super Rhymes by Jimmy Spicer)

Superfest Disability Film Festival.

Also here to take us through the festival is Emily Beitiks the Associate Director at the Longmore Institute on Disability.

Emily:

I’m the Coordinator of Superfest. I work with the film makers each year to help them audio describe their films and work with the audience each year as we kind of learn from them what works what doesn’t work and bring Superfest into other arenas to kind of broaden the reach of where our films are seen and introducing people to audio description for the first time when I do school assemblies or go to libraries or not your traditional Superfest audience. I’m a non-Disabled accomplice in this world. My mom had a disability since before I was born so I’ve been really passionate about bringing my own experiences kind of straddling both worlds experiencing disability discrimination and also participating in it as being a non-disabled person.

TR:

Let’s start with a bit of history.

Emily:

Superfest was started in Southern California in Los Angeles in 1970. It switched hands to various organizations over the years and migrated up to the Bay area where it was run for many years by Culture Disability Talent. It was a really well loved grass roots effort volunteer lead.

TR:
Running an event like this solely with volunteers can be a challenge. In 2012, Superfest found a new home with The Paul K Longmore Institute on Disabilities and The San Francisco Lighthouse.

Emily:

It was just kind of a very exciting match because the Longmore Institute was just getting started in a new sort of way as our founder Paul Longmore had passed away and Cathy had come on as Director and Lighthouse was a really established organization but focusing more on direct services and was interested to kind of push their boundaries by doing some more cultural programming.

We partnered up and ran Superfest for the past seven years.

TR:

The festival, which originally was not an annual event, is now headed into its 34th year. This will be the first time it’s solely run by the Longmore Institute, as the Lighthouse leadership decided to focus on other programming.

Emily:

We were really lucky to have that partnership with Lighthouse for many years because they just had a sort of organizational structure for like getting the bills paid and the reservations booked that moved a lot faster than we were capable of when we were just getting started. We’re really lucky that they waited and gave us a lot of warning because now we’ve been up and running for some time and we’re ready to run the ship by ourselves.

Cathy:

The other thing that kind of got thrown into this that makes it less hard to measure what the big change is you know with Covid how much of this is ultimately going to be online anyway. We’re still trying to decide. We don’t quite know if the venues we want to have it at in mid-October are going to be open and ready and all that. So it’s hard to measure exactly what a new Superfest without Lighthouse is going to be like.

TR:

Fortunately, Superfest in October won’t be their first go at managing events online.

Emily:

For the last few years, we do an annual event called the Longmore Lecture in Disability Studies and we had started to experiment with using Zoom to live stream that event to be able to bring it to people that by nature of their disabilities they couldn’t come or geographically they couldn’t come in person. When shelter in place hit and we’re here in San Francisco which is one of the first places in the country that got the official lockdown, we kind of saw it as a real opportunity, we’re like oh, we can do online programming. We’ve had experience with this and we could figure out how to bring it to a festival environment.

TR:
The challenge in presenting films online is the threat of pirating.

Audio: Scene from Pirates of the Caribbean”

“You are without doubt, the worse Pirate I’ve ever heard of.”

Jack Sparrow: “But you have heard of me”

Emily:

But I knew I’d worked with enough film makers over the years who I could reach out to that their primary mission was just for people to see their films. So the risk of possibly somebody making an illegal recording was just not as big of a concern. The more people that see this film the better.

TR:

Some of the films included work from Reid My Mind Radio family members Cheryl Green & Day Al-Mohammed.

Emily:

People really need this right now. People are cut off from their community and at the same moment that there’s so much hurtful and ablest rhetoric circulating around disability. And so to be able to spend an evening or an afternoon watching some disability films it also really brings people together and celebrate disability and get at the nuances of life with a disability that certainly the mainstream media doesn’t always get, just felt like a really important possibility.

TR:

My initial interest in featuring Superfest here on the podcast began with access. I was really impressed with the way they just for me at least, appeared to come out of nowhere and start providing content for the disability community. The way they do access; not only did I feel included, but knowing others were also able to participate just felt like something I should share with the Reid My Mind Radio family.

I wasn’t the only one reacting.

Emily:

One person was like I’ve never been able to participate in any sort of film festival in my life because I spend most of my time in the bed. They said this was just incredible to get to be part of this. Another one that stood out was a guy who stayed up super late to watch in Kenya with a group of friends and was like that was absolutely worth staying up for. Now I have a group of friends and we’re going to watch all your programs. And he certainly has.

So just being able to bring this program to people that don’t have what we have in the Bay area has been really exciting.

Cathy:

Emily thought to do another really cool one which was Superfest Kids which was kind of a nice home schooling moment I guess, with disability awareness and it was all geared towards kids. How many people did we have on that one? Do you remember?

Emily:

We had about 150. A number of people were like my kids are supposed to be on a Zoom call with their class right now but this is a more important lesson.

TR:

A lesson that more of us need no matter our age.

For the unfamiliar, the idea of a disability film is something like;

Cathy:

Oh Disabled people are people too and isn’t it great that they’re there and this is a positive happy uplifting story. It’s not a depressing one whatever. Those are fine, but we highlight what we think is disability 201 – films that share the creativity and the ingenuity or the unexpectedness or the intersections of disability with other kinds of identities.

TR:

Identities like race, gender, sexuality

Considering the idea of Disability 101 versus 201, you may think those new to disability should begin sequentially. Cathy however doesn’t see it that way.

Cathy:

I would say go to Superfest right away because if you’ve even thought about disability for five seconds or anybody around you has thought about it, chances are they’ve seen some version. It’s usually some films by a family member or friend that just thinks wow you know it’s really great that so and so with fill in the disability and then fill in what they did. They either traveled somewhere or they climbed a mountain or they went to school.

TR:

The 101 or 201 classification isn’t about good or bad. The distinguishing factor between the two is 101 films aren’t often made with disabled people in mind.

Cathy:

We want people to sort of think about disability as experimental and as interesting and as passionate and not just as yet another feel good story about somebody climbing a mountain because they started to be more comfortable with their disability or they needed to prove themselves. We want to ask them to think about well what happens when that person comes down from the mountain. What’s their life like after that?

TR:

That’s another difference. The 101 films feature a single disability experience.

Cathy:
But the 201 version would have them speaking to other disabled people and kind of bonding. There would be some sort of connection and some sort of excitement and engagement. It’s not just like one person being show cased all by themselves.

It might be that they have a quirky view on things and they change the thinking of other disabled people or they changed the thinking of people around them to give an unexpected perspective on the world around them.

TR:

The 201 films like Superfest, really center disabled people. And at the end of the day, as Emily explains, the goal is pretty simple.

Emily:

We’re just trying to not have them be bored. Even if you are new to finding your disability identity, typically a 201 film can just go a lot farther with pushing people’s buttons and thinking like wow, there’s this whole world of thinking about disability that I haven’t seen before.

A few years back we came up with a list that we kind of think of 10 things that define disability 201 and what Superfest is all about. Things you’re going to find at Superfest that you’re not going to find anywhere else.

TR:

These are things like;
People with disabilities as the main characters
Intersectionality – people with disabilities aren’t just white men as often portrayed in movies. So at Superfest, you’ll see representation from Black, Latinex, and LGBT people with disabilities.

I’ll include a link to these ten categories on this episodes blog post at ReidMyMind.com.

At Superfest, all screenings include open Audio Description. So unlike when you attend a film at your local theater and you request the headset and receiver to privately stream the audio description, these films have the description streaming with the main audio. As Cathy notes, this does require some introduction for an audience unfamiliar with AD.

Cathy:

You’re going to hear this and you’re not used to it. Think about it as a new way of watching films. I’ve often thought of it as in that context of when they introduced talking to silent films. It’s another layer that people weren’t ready for and then suddenly like woh this is very new. The problem with that though is it can be sensory overload for people that have processing or cognitive stuff going on

TR:

A challenge of producing a film festival like Superfest is the idea that creating access for one group of people may unintentionally exclude another group.

For example, Emily talked about a film called To Be or not To Be. It featured a young man with Cerebral Palsy in Kazakhstan. The film which was in Russian, required translation. For sighted users, printed sub titles along the bottom portion of the screen will do the trick. Blind viewers require over dubbing.

Emily:

The focus of the film is really his incredible acting abilities. In making it accessible to the Blind we were then losing hearing this actor with CP and his own voice telling his own life story. So it was a really tough example of like a competing accommodation of wanting to bring access to the Blind but not wanting to lose this man’s voice.

TR:

This particular film worked out because it had enough quiet space that the description and dubbing was staggered to allow the actors voice to be heard. For this very reason, Superfest now determines which films are better suited for open description but offers closed description for others.

Emily:

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

So what is that process like, of teaching the film makers?

Emily:

Well, when they apply to participate in Superfest, there’s a requirement box that they have to check that says that they’ll get their films captioned and audio described.

TR:

Most of those who apply are in agreement with this philosophy. In some cases especially for independent film makers, the cost of captioning and describing, while small in comparison to other production costs, can present a challenge.

Emily:

A lot of our film makers are able to get it done. Other times we have to work and get creative about finding funds ourselves to be able to cover those expenses or find funders that are willing to do it for them. With each film kind of think it through with the film makers and sort of talk through the strategies.

TR:

Funding is just one of the challenges. Some films may just be packed with dialog and visuals leaving little space or no space for description. Emily and Cathy explain how one such instance was managed and how the result can be a win for all involved.

Emily:

And so we were like we’re going to just have to add pauses to the film to do this right and get some of that Audio Description in. There were going to be visuals that like everyone in the crowd who was sighted was going to laugh at that and we didn’t want to risk that people would not get to experience those jokes. And so we built in those pauses and I think this film maker was super up for it.

Cathy:

You know when audio description’s done badly it’s horrible, it’s like suffocating on something that’s beautiful and something that’s not. But when it’s done well it kind of coaxes out some great stuff that’s already in there and enhances it. So she got somebody to audio describe the film that had the same snarky tone that the images did. So it totally enhanced the images for everybody.

Emily:

We’re introducing it to them for the first time but we’re also really trying to empower them to be advocates for what the final product is and be like you know your film best. You know if that visual right there matters or if that was just some B roll you needed to fill the shot. The more active that they can be in the audio description process if they do outsource, the better the results have been.

Cathy:

To me that’s the dream of a Superfest audio description experience where the film maker says woh this made my film better!

TR:

Currently, English and American Sign Language (ASL) are the only supported languages. However, an online festival offering multiple links for various languages would simplify the process in comparison to a live physical audience.

Getting that audience whether in person or not takes work.

Emily:

Shout out to our wonderful student assistants. Every time we have an event they get an email from me like okay, here’s the audience for this one, think of everybody you can and send them this email. We have like a big list of disability organizations all across the country, but then with each one we’re like who can we reach that would not have any interest in attending a disability film festival but because of this new sort of twist on it right, might be interested.

TR:

Selecting the students, or Longmore fellows, as Cathy refers to them is not about finding interns to get the job done.

Cathy:

We try to hire as many students with disabilities and put them in the majority as our kind of student workers but also we’re educating them and bringing them into community with each other about new ideas around disability.

TR:

The students are experiencing the mission of Superfest, advocacy, education and community building. All done through the phase one judging of the films.

Cathy:

It’s almost like a class but we get paid internships for students with disabilities to come and basically watch like 190 – 200 films and have to Weddle it down to like 10 or 15. And we teach them and they teach each other and they become advocates and learn about representation of disability and all these things by working together.

TR:

Both Cathy and Emily lead the interns in discussions about the films. With each of the students coming to disability from different angles as you can imagine, the conversations are rich and engaging.

For more on Superfest jurors, check out episode 76 of Alice Wong’s Disability Visibility Podcast. I’ll hook you up with that link on ReidMyMind.com.

While much of the world got caught flat footed during the pandemic, we see how the team at Superfest was in a position to quickly respond.

Emily:

We have always evolved with new twists and turns each year.

Emily & Cathy:
There’s always something!

Cathy:

The BART Station right by the venue was down. We created a bus bridge to another BART station. We found out like that morning at the festival.

Emily:

One year we arrived at one of our venues and the night before they had painted a wall like right outside the entrance to our auditorium. So the fumes were going to be a serious problem for anyone with chemical sensitivity. We’re like, alright great let’s figure it out. We’re going to get some fans in here. We’re going to reroute and everyone’s going to enter through the back.

We’ve been giving advice to some of the other film festivals not just disability film festivals but film festivals period with how to do online programming. I think that’s a great example of like when you’re in the disability community you’re used to things not being made for you because of ableism. That gives you this adaptability and flexibility and like our festival has that spirit.

TR:

The Superfest Film Festival will take place on October 17 & 18, 2020.

With 15 films all falling within the range that Superfest aims to include.

Emily:

Different disabilities featured, a mixture of documentaries that look at some of the honest hardships of life with a disability and others that are light and hilarious and really get at some of the funniest moments insider humor inside the disability community. A lot of really incredible artistic films that explore the beauty that comes with disabled bodies and disabled dance movement.

TR:

This year’s set of films consist of 14 short and 1 feature film.

Emily:

Called God Given Talent that explores a local Oakland based artist who’s Black and Blind. Really looking forward to sharing that more local story.

TR:

And yes, you are going to hear more about that particular artist in an upcoming episode right here on the podcast.
*

For more on the films included in this year’s Superfest lineup visit SuperfestFilm.com.
You can learn more about the Paul K. Longmore Institute on Disability at LongmoreInstitute.sfsu.edu
They’re on Twitter @LongmoreInst and Facebook Facebook.com/SFSUDisability.
Or, just check out this episodes blog post at ReidMyMind.com for all the links.

Superfest sounds like much more than a film festival. In fact, I see it as a resource for those adjusting to blindness.

Chances are those new to blindness or disability in general haven’t spent much time critically thinking about disability. Being new to the experience is an opportunity to examine all that’s been accumulating in the sub conscious over the years. The films featured in Superfest encourage us to move our thinking about disability to a conscious level.

Take a look at the list of 10 things defining the 201 films and Superfest. They resemble some of what I’ve been learning along this journey of adjusting to blindness. Like;
* Recognizing the various ways disability intersects with other identities
* Exploring disability as a political and social issue, not just medical
* Seeing ourselves throughout all aspects of society and finding friendships within the community.

In fact, now that I think about it, Superfest sort of reminds me of how I feel about this podcast.

Cathy:

People need to know about this. it’s just such a great opportunity and it’s kind of great that it’s gone under the radar for so many people for so many years but on the other hand it just would be so great to have it be really, really well known. It’s so beloved and people are so excited about it and every year people come and they’re just like woh, we never thought of this. This is so amazing.

TR:

I’m just sayin’!

While I’m looking forward to Superfest being online this year because I personally get to attend, I know there’s no replacement for that in person experience. I look forward to one day being able to participate in person. I get the sense that it could be a similar experience to my first blindness conference. That sense of belonging or community.

Audio: It’s Official…

Cathy Kudlick…
Emily Beitiks…
And Superfest…

Its official! You know you’re part of the Reid My Mind Radio family!

Come hang out with yours truly and the rest of the cool kids watching some fun, interesting and thought provoking films. Head over to SuperfestFilm.com to check out the lineup and grab your ticket. Don’t forget the snacks and drinks. (You gotta have the snacks and drinks.)

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

Peace!

Hide the transcript

Ajani AJ Murray:

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

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

TR:

And me, I’m Thomas Reid
producer and host of this podcast.

I usually reserve the opening of the episode for me to
tell you a bit about what this podcast is all about,
but as you’ll see in a minute, AJ is a media connoisseur,
so I was like man, everyone needs to hear his review.

I like to let new listeners know that here,
we bring you compelling people impacted by all degrees of blindness and disability,
told in a way that sounds

Audio: AJ “Dope” “Fresh”

And I do always hope Reid My Mind Radio can be a

Audio: AJ, “Resource”

For anyone especially those adjusting to vision loss.

And with that said, let’s do this!

Audio: Reid My Mind Radio Theme

Audio: Tom Joyner show…

AJ:
I became a big fan of radio because of Tom Joyner. We went to one of his Sky shows in Atlanta and it was at Greenbrier Mall. It was the whole cast and we listened to the S.O.S Ban. From that point for about 2 or 3 years I did a mock radio show.

TR:

A youngster at the time, AJ study the format of the now retired
Tom Joyner, host of the number 1 nationally syndicated urban
(that’s code for Black) morning radio Show.
AJ created his own show which he put on for his family.

AJ:

To make a long story short as I told you earlier I can really talk and go on long.

[TR in conversation with AJ:]
Laughing…

AJ:

I kind of sort of gave up on going into radio because I realized that in mainstream FM radio you don’t really program your own shows. You’re basically playing the same music and also to get to where I really wanted to be and the kind of radio that I would do is something that you have to be in the game for years and years for, like a Tom Joyner.

TR:

AJ knew his true passion.

AJ:

I’m a huge, huge fan of the screen big and small. From the time I was a very little kid I was always just enamored by the screen . I grew up on three camera sitcoms; Cosby Show, A Different World, Facts of Life, Different Strokes. As I got older there was the Fresh Prince era, the TGIF era, the Martin era, the WB era. My love for television in the very beginning was the sitcom.

TR:

Of course, there’s the big screen.

AJ:

My mom loves film. When it came to film she wasn’t really restrictive on what we could watch. Now we couldn’t watch everything, there were certain films I couldn’t watch but like it was 1989 I remember actually going to see Do the Right Thing. I had to of course cover up my eyes during the Mookie ice scene.

[TR in conversation with AJ:]
Laughs…

AJ:

TR:

Shout out to Rosie Perez!
If you don’t know the scene let’s just say Ice cubes are for more than chilling your lemonade on a hot summer day.

AJ:

I appreciated that several years later.

TR:

Now, I’m from the era where parents let you ride in the front seat with no seatbelts,
where you were encouraged to leave the house and explore so
I cannot judge.
[TR in conversation with AJ:]

You know the movie Death Wish? Charles Bronson. I saw that at 6 and nobody cared (laughs) and nobody cared.

Audio: Scene from Death Wish: Knock at door and unsuspecting woman says she’ll anser it. She asks who is at the door and the intruder replies he’s delivering her groceries…

TR:

Don’t open it! He’s lying!

(exhale)

Fortunately, there’s a lot of good that can come from family movie outings.

AJ:

That’s one of the ways we connected as a family.

[TR in conversation with AJ:]
Very cool. So it was the whole family going?

AJ:
My mom and my two sisters. In my house it’s three women and me.

We’re all very very close. That’s one of the ways we bonded. Sometimes we’d listen to classical music or something really peaceful because I grew up in a very peaceful household.

TR:

Television & movies can also initiate conversations about all sorts of topics and
even ways to explore culture.

Just be careful about that last one there, we know Hollywood doesn’t always get culture right. (Ahem!)

AJ:

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

TR:

Financial accessibility, we don’t often talk about that in our conversations around access.

AJ, made use of what was in his reach.

AJ:

The screen was my classroom! Anything I could get my hands on or watch or any old interview s. I really appreciate actors that do interviews like I stay stuck on the Biography channel, on Actor’s Studio. Any time there was a documentary series about behind the scenes I’m all over it!

TR:

Screens bring their own access challenges.

AJ:

when I watched re-runs of television in the 50’s and 60’s even like 20 years ago, 30 years ago, they always had like a voice over guy read everything. One of the things I always laughed at is like watching re-runs of the old Andy Griffith show. the announcer says it’s the Andy Griffin Show, starring Andy Griffin and I always laughed because I’m like didn’t he just say it’s the Andy Griffin Show.

But I realize he said that because he was reading the opening credits. Everything was announced. it really helps me as a visually impaired person.

[TR in conversation with AJ:]

People think Blindness is an on or off, so you see everything or you don’t. I know that there are real specific challenges for people with low vision when it comes to that.

AJ:

I’m glad you brought that up. There could be things that I can see one day and the very next day I won’t be able to see. I look like I can see and so people they start laughing or they think you’re lying or they think you’re not looking hard enough. I’m like I can’t see this.

Even when I’m in my power chair I would rather like walk behind someone so it could be like a human guide.

TR:

AJ’s vision loss is related to his Cerebral Palsy or CP.
It impacts all four limbs so as he described to me, he needs physical assistance with most things.

Most things physical that is…

AJ:

If I was watching Happy Days or Laverne and Shirley or Three’s Company or All in the Family I would create a character, none of it is written down because I’m not able to physically write.

If I was watching Three’s Company, if Jack and Larry were going down to the Regal Beagle well I was too. If I was watching Law and order , no I couldn’t be a detective but I could help Jack McCoy as one of his assistant DA’s. I just made myself a part of the cast.

TR:

AJ’s imagination was open.

His opportunity to hit the stage came in high school.

AJ:

I had such a ball in high school. It was such an atmosphere of like were going to support you and you’re a part of us. My favorite drama teacher his name was Dr. McMichen. I was thanking him for making sure the stages had ramps and I was included in on all the trips.
He let me know, you are a part of this club and a part of these plays and it’s because you are good not because you are in a chair. And that made me feel so good.

TR:

following high school he continued working on his craft by attending workshops and finding a community of other actors.

AJ:

I would say over the last three and a half years I’ve gotten the opportunity to be on screen.

the first thing I booked when I got my agent was, we did an episode of Drunk History. And that comes on Comedy Central. That episode was actually about 504Act. That’s kind of the precursor to the ADA.

Then I was able to do an episode of ABC’s Speechless. I played a character named Charlie.

I was able to do an independent film called Bardo Blues. It’s an interesting very nonlinear artsy film that talks about depression and bipolar. I play the neighbor to the lead.

Audio clip from film…

TR:

His latest role is Best Summer Ever, A Musical.
It takes place in a high school.

AJ:

It’s a romantic story and all kinds of teenage angst ensues. I play the older brother so I’m not involved in the teenage angst but I do sing in the film.

TR:

The film consists of a cast of over
60 disabled actors as well as those without disabilities.
It’s being screened at South by South West on March 14.

You can also see AJ in Becoming bulletproof.
Every year, actors with and without disabilities meet at
Zeno Mountain Farm to write, produce, and star in original short films.

Audio clip from film…

AJ is the focal point of the doc.

AJ:

I also did a documentary, it’s called Take A Look At This heart. So I talk about my experience around my sexuality and dating. So it’s an ensemble so It’s not just me. I believe that’s now streaming on Amazon.

TR:

AJ’s getting some roles and definitely
making a name for himself by judging film festivals, hosting events yet
he found himself in a dark place.

AJ:
Heavy dark! Like I was really, really down.

I was on a walk with my mom. I was in California at the time and it was a beautiful sunny day. It came to me, instead of being down about not getting auditions or you know nobody’s calling or you’re having a hard time with employment; why don’t you write what you want to see?

TR:

By now you can tell AJ puts a lot of thought into what is on the screen,
big or little. So of course he would do the same for his script.

AJ:

A lot of characters that we see it’s either one person with a disability and I’m not saying you don’t ever see it, typically they don’t have any friends. To my experience I have a bunch of friends with disabilities. Not just CP, but all kinds of disabilities.

I just want to lend my voice to reflect that on screen.

TR:

Think Living Single, Friends or the Big Chill…

AJ:

These group of friends, People with disabilities in a more adult context. All with different types of disabilities like CP, like me. He also works. Then you have another character who has CP they walk with a gate. Another character she has a traumatic brain injury and she’s very athletic…

[TR in conversation with AJ:]
And may I lobby for a Blind guy who likes audio and…

AJ:

If we get picked up brother I’ll write you in a couple of episodes.
[TR in conversation with AJ:]
There you go man, there you go!

TR:

Alright, fine, it’s not about me.

In order to physically write his words, thoughts and ideas AJ has a very special writing partner.

AJ:
My mom helps me a lot with a lot of stuff behind the scenes. We’re actually working on a book and that’s going to be out sometime soon and we do public speaking.

TR:

The latter is done under the name, I Push You Talk. What a powerful statement.

Pursuing your passion can really be hard.
There are always reasons to throw in the towel or change course.
Legitimate reasons that wouldn’t in anyway classify someone as a quitter.

For example…

AJ:

Just because you perform in school, that doesn’t mean that it’s going to translate to the screen or you’re going to have this career.

TR:

There’s also the physical pain that comes with his CP.

AJ:

I’ve been in pain since my early teens to pre-teens. As I’ve gotten older sciatic pain and nerve pain over the years have like sort of advanced to like more of a chronic level as far as nerve pain.

My love for everything that I experience and everything that I’m going to and want to experience has to be bigger than my pain.

[TR in conversation with AJ:]

You don’t probably see people with disabilities in many of these films that you are watching.

AJ:

That’s a hundred percent accurate.

[TR in conversation with AJ:]

So it doesn’t sound like that dissuades you.

AJ:

I didn’t necessarily have this as a child but with the combination of my mother speaking to me and my imagination, I just had this sense that it was put inside of me so I’m supposed to be doing what I’m doing.

There’s people of faith in my family so I do have spiritual background. With all those things combined because of my atmosphere, I’m the man you’re interviewing today.

Audio: AJ Scratch… Ladies singing “AJ” while beat rides under…

TR:

That’s Mr. Ajani Jerard Murray.
Actor, Writer, Speaker, Consultant and soon to be Author Producer &…

AJ:
Things sort of have this way of coming back around full circle. I’ve gotten into podcasts and I want to start a podcast and I want to do it with a group of people like a morning radio show. Sometimes my dreams are very big and lofty, but I have a lot of faith and I believe it could happen.

TR:

It really does all start with imagination.
And it continues with that determination, persistence and faith.

AJ, brother, thank you for letting me share your story!
And you know what’s up, you are officially a member of the Reid My Mind Radio Family.

You can reach AJ via social media at:
Twitter – @GotNextAJ
Instagram: @AjaniAJMurray
Ajani Murray on Facebook

You can catch both
Becoming Bulletproof and Take a Look at this Heart
streaming on Amazon.
For those with that prime membership it’s included.
Unfortunately they don’t have Audio Description, however Becoming Bulletproof does at it included on the DVD.

Best Summer Ever is screening at South By South West so if you’re hanging out there go check it out.

I’ll have links over at Reid My Mind.com to AJ’s social media and more including a web series on YouTube.

I hope you enjoyed getting to know AJ as much as I have. I look forward to continuing our conversations and I have a feeling based on his thoughtful insight that you’re going to hear from him again in this space.

If you agree that what we’re planting here on the podcast can provide some nourishment or maybe a sweet treat, please share it with others.

Ya dig!

If you want to help it grow a bit, you can even go on over to Apple podcast and leave a rating (5 stars, a review would be pretty cool too!

Please, , do not apply water to the podcast, that will not help it grow at all!

Reid My Mind Radio is available wherever you get your particular flavor of podcasts. Remember links and Transcripts are at ReidMyMind.com.
That’s R to the E I D
Audio: Slick Rick, “D, and that’s me in the place to be!”

TR:
Llike my last name.

Audio: Reid My Mind Radio Outro

Peace!

Hide the transcript

TR:

What’s up Reid My Mind Radio Family!

Welcome bac to the podcast.

First time here? Cool. Allow me to introduce myself. I’m Thomas Reid host and producer of this podcast. This is the place to be if you want to hear from compelling people impacted by all degrees of blindness or disability in general. They all share one thing in common; their dope!

Not because they’re doing anything magical. No, their human. In fact, many of them have been where you may find yourself right now.

If you’re uncomfortable with those words, blind, disability, that’s ok for now. But take a listen to how comfortable my guests are with these words at their current place in their life journey.

Your journey will be different, but you’re definitely on one. And the R double M Radio family and I are here for you.

I think there’s only one way to bring on this one; lights, camera, action!

Audio: Reid My Mind Radio Intro

Scene from See…

TR:

This is a scene from the premiere episode of the new series called See available on Apple TV Plus.

Audio: Scene includes Audio Description Narration

TR:

yes, there’s audio description.

Here’s the synopsis from the opening scene

Audio Describer: Following the outbreak of a deadly virus in the 21st Century, the Earth’s human population was reduced to less than 2 million humans who survived all emerged Blind. Now centuries later the idea of vision exists only as a myth. To even speak of it is considered heresy.

TR:

Well RMM Radio you should be proud because in a six, well three, degrees of separation sort of way you are each connected to this new series. No, not because you yourself may be blind, but because one of our family members are let’s say, associated with the production of the show.

JS:

I’m Joe Strechay, I’m a Blindness Consultant for Apple TV Plus’s See, which is a streaming television show. And I’m also a Blindness Consultant out in the world outside of that working with organizations around blindness.

TR:

That’s right, our brother is back! He’s and O.G. in the R double M R Family.

Audio: Air horn

I couldn’t let 2019 end without discussing See and the role Joe played in its production. And even more in tune with this podcast is looking at his life path and how embracing his blindness helped his journey.

[TR in conversation with JS:]

Why don’t you catch up the family, because you’re part of the Reid My Mind Radio family big time!

JS:.

Definitely!

My favorite podcast around blindness! You heard that, favorite one!

Audio: Joe singing “Radio”

Last time you heard from me I was the Director of Blindness & Visual Services for the Commonwealth of Pennsylvania, overseeing the services for people who are Blind or Low Vision. I’d been working in the entertainment field part time over the last years.

TR:

That includes working with writers of the shows like Royal Pains, The OA on Netflix and of course Marvel’s Daredevil.

Audio: Clip from Daredevil episode.

While working as the Director of BBVS Joe was presented with an opportunity.

JS:

Apple TV Plus’s See Production in their infancy days reached out to me to see about working on the show. I had an interview first with the creator of the show Steven Knight and Jenno Topping who’s the president of Chernin Entertainment one of the studios involved. I think one of the Executive Producers involved was on the line as well. And then I had to do a Skype interview with Francis Lawrence who’s an Executive producer and the Director for episodes one through three. Once I cleared Francis I was able to land the position. We kind of talked about it and I talked to the production staff and it sounded like it was full time. And I’m like I’m going to have to leave my place of employment.

TR:/

His responsibilities first began with part time work. Consulting on scripts and exchanging ideas via a secured platform and conference calls in the evenings.

A day or two after his final day at the Bureau

JS:
I flew to British Columbia to officially start my full time job.

TR:

So what exactly does a Blindness Consultant do in the making of a series like See?
Audio: available on Apple TV Plus.

There’s the pre-production work like reviewing scripts and providing input…

JS:

We prep’ d for almost two months in person. We worked with a movement director like a choreographer type person and a team of choreographers.

I have lists of these little aspects of blindness that most people don’t know about. You’ll see more and more of that in the scripts I would say four through eight and maybe most people won’t notice them, but they’re in there.

Walking through some of the set pieces and saying oh, I think I would do this. Meeting with the set dressing department who puts out the objects that are set out in the space. Where I would put stuff, how I organize things.

Ideas for props. Even the weight of the props. How they might use that prop. Kind of help create the world with this amazing creative team.

TR:

A world, Joe points out is not of blindness.

JS:

It’s a Science fiction world probably somewhere between now and 100 or 200 years from now somewhere in there, a viral apocalypse happens. Kills off the majority of the population of earth. There are just a few million people left on earth and then those individuals emerge blind. Our show takes place centuries after that where civilizations have built out different environments.

It’s not a world of blindness, it’s a world of See really.

TR:

Definitely not a real world and therefore not a true depiction of how Blind people live. But representation matters. You know, sometimes you just have to take a stand!

JS:

There were definitely times. We did a lot of exploration around these people and making them different, each group different. Even differentiating the posture of people for their environment and like how they do things. There were times when I was yeh, I don’t think we’re gonna do that!.

TR:

Yet the science fiction format is known for exploring social and cultural issues.

JS

Our show battles with Ableism purposely at times.

TR:

Specifically, exploring, what happens when a set of twins are born with the ability to see in a world where everyone is blind

JS:

What people with vision might think versus people who are Blind. In a world where everyone else is Blind. Seeing that battle, seeing where people who are Blind are better at some things and people with vision are less than. I love that aspect. Everyone has different skills.

TR:

Multiple members of the cast are actually Blind or Low Vision. Again, representation matters.

JS:

One of the things I was really proud of in our background and some of our actors had other disabilities. We have background who are Deaf or Hard of hearing, a gentleman with Cerebral Palsy, all kinds of different disabilities. Our show embraces that. We want to make sure people have opportunities. These were talented interesting people that we could include in our show. There are people with other disabilities that you’ll never know that are within the show and even behind the scenes in production. It’s not because of their disability, it’s because they’re talented individuals.

TR:

As the majority of See’s characters are Blind, Joe is working closely with each. This includes the show’s lead, Jason Momoa.

Audio: Scene from see featuring Baba Voss played by Jason Momoa.

JS:

He’s super nice. He has a big heart and he brings so much consideration, energy, enthusiasm ideas. I’ve never met someone so creative. He sees things in the scenes. Most actors they see their role and their part in the scene, but he sees the whole scene at many times like where other actors are and what kind of story you can show with the angle. He’s directed.

TR:

Directed, co-wrote and starred in Road to Paloma a 2014 Drama thriller.

Also starring in the series is the 4 time Emmy Award Winning Alfre Woodard.

Audio: Scene from See featuring Paris, played by Alfre Woodard.

JS:

She taught me so much and continues to. Brings so much to our show and just as a person is an amazing friend as well.

That’s the thing I didn’t just make professional relationships it’s like so much bonding. We spent like six weeks at least in remote areas if not like 10.

TR:

That’s Joe with the cast of See

Audio: available on Apple TV Plus.

JS:

So Nesta Cooper, Archie (Madekwe), Mojean Aria, Hera Hilmar and all of them became my friends.

We spent time in an isolated area in British Columbia which is in Vancouver Island. There was a pub at our hotel and pretty much was the only place you could eat or drink! We’d have like an hour and forty five minute ride to set and back each day, so long days. You’d go to the pub and hangout.

[TR in conversation with JS:]

Now you’re there full time so you’re living there while you’re working. Were you the only Blind person there?

JS:

Yeh, at first I was the representative of Blindness originally, working through the setup of the show in person. I was there for 9 months originally and then another month for re-shoots. I became part of the Blindness community in Vancouver in British Columbia. The community really invited me in. I started going to audio described theater in the area. There was an international Goal Ball tournament I went to. I went to this organization’s Blind Beginnings events. Met with CNIB, the Canadian National Institute for the Blind and the Blind Sports Association of British Columbia and Canada. They were fantastic. Going to fundraisers for different groups and going to see the Blind Hockey team practice. They actually started becoming part of our background in our show.

TR:

Away from home for about 10 months, eventually Joe moved into an apartment after spending about three months in a hotel.

JS:

Right next door they had one of the best breakfast or lunch places . I met a couple of people out at this Ramen shop in the neighborhood who work there. I was eating Ramen and having a beer and we just started chatting. We became really good friends. Charlotte and Sebastian. My wife hung out with her too when we came in. I met so many people in the community. I was definitely in the community doing things. Going snow shoeing with friends.

[TR in conversation with JS:]

Laughing…

Ok, so I kind of want to move this to your career. And what you just talked about I think is probably an important aspect, especially from what I know about you. Networking, but really I don’t want to just call it networking because I feel like you’re a relationship guy. How important has that been in your career? Like that aspect of your personality.

JS:
You know throughout my career I moved up and down the East Coast to places where I didn’t know anyone at all.

I literally make an effort to go out places and sometimes it’s tiring you know, you worked all day, but that’s how you meet people. That’s how you become part of the community. That Ramen shop I went to a lot, I love that Ramen shop. they know me by name there(laughing). I also stick out, I have long hair, a beard and white cane so…

[TR in conversation with JS:]

Laughing…

JS:

But it has been important. I’m careful to ask people about what they do, their life, what they want to do. The same stuff we do in career counseling. That’s a great thing about blindness, I don’t judge a book by its cover. I just met someone and I talk to them . For the better or worse and typically for the better. Once in a while I get screamed at from some random person for no reason but you know everyone’s dealing with something.

TR:

Whether it’s moving to Florida for his Master’s degree or West Virginia where he ended up meeting his wife;

JS:

I meet people, I get to know them, maybe exchange information. If we click as friends or if I can help them I’m always willing to help people and connect people.

Yeh, I’m a relationship guy for sure!

TR:

Looking back, we can see signs of Joe’s interest and early preparation for a career in the entertainment industry.

JS:

I love television and movies. In high school I worked my four years at a video store, a VHS store.

TR:

For those too young to recall, A video store is like having a bunch of Netflix’s oh wait my bad, Apple TV Plus, in stores in every community. Rather than opening an app and making your selection, you’d have to leave your house and get to the store. You’d search the shelves for the movie that you wanted. If it’s there cool, take it to the front desk and pay to borrow that for a day. Now hurry home and watch it but don’t forget to bring it back the next day or you’ll have to pay additional fees.

Whew! Hooray for technology!

JS:

In college I never thought about working in film really, but I took a film and literature class. I enjoyed it.

TR:

His studies included the portrayal of minority characters as well as gender roles in film.

After receiving his Communications and Public Relations degree hhe went out into the world.
JS:

Worked in Public Relations right after school but I didn’t fall in love with the product side of it. I’m mission oriented I want to see things succeed.

TR:

Joe even came pretty close to landing the coveted job of a NBC Page.

JS:

I made it out of they said 10,000 or so. Six people on a panel interview with four people interviewing us. And it was like Valedictorian of Howard University, Valedictorian of another or a guy who worked on 20/20 already. Legally Blind since 19 and I had that opportunity to be part of that six.

I didn’t have all the skills I should have had to be successful at that point. I learned from it too.

TR:

Audio: I have a certain set of skills…Scene from “Taken”.

Joe’s particular set of skills include his Master’s degree in Orientation & Mobility.

But skills are only a part of what it takes.

JS:

When I had the opportunity to work with entertainment programs a little bit at American Foundation for the Blind and then more so with Netflix’s Marvel’s Daredevil which I did outside of my work at AFB. I had to complete all of my duties plus all my work so I was travelling all over the country, using New York City as my home base. There’s a lot of sacrifice.

TR:

Sacrifice is leaving a comfortable position and putting yourself out there for possible disappointment.

JS:

I’ve been offered other entertainment opportunities for movies. They want you to leave and be full time for like 2, 3 months at the most. To leave a full time position to go do that is a gamble. It was a big decision. My wife Jen and I discussed it and weighed the options. I sought advice from friends I worked with on other productions. When it came down to it, it just seemed like a unique opportunity. A game changer to impact the world but also they were committed to hiring actors that were Blind and Low Vision as well and wanted me to help with that. Making sure that there was accessibility and figuring out what that was. I never had that opportunity. I worked on other shows but it always just involved the portrayal of blindness, scripts some set advising and props s but this was a full time doing all that and so much more. We were figuring out what my role was as we went. It just kept expanding.

[TR in conversation with JS:]
How important was Apple? Was that a big factor in you making the decision to leave BBVS and go there?

JS:

It was a huge factor. When you throw the name Apple out in our community, the blindness community the disability community, it is like the gold standard.

Since 2009 and the third generation iPhone and even right before that with the Nano iPod where it had Voice Over embedded into it. It changed the game in accessibility. I have multiple Apple TV’s in my home, my Apple keyboard on the table here, Air Pods, iPhone 11 pro here and a iPod Touch over there so when Apple was connected to it I’m like this is going to be something!

TR:

When it comes to Joe’s real motivation, I think it’s pretty clear to see!

JS:

I’m very passionate about the portrayal of blindness in entertainment. I wrote an article about how disability is portrayed for AFB Access World years ago even before my time on Marvel’s Daredevil

Our show shows people as heroes, villains, good guys, bad guys, warriors, lovers. Things that you don’t typically see people who are Blind doing. Living their lives in a community cooking, building all kinds of things like that. That means something to me.

TR:

Did you catch that?

Audio: Rewinding Tape Deck

JS: “Things that you don’t see Blind people typically doing”

[TR in conversation with JS:]
Now you’re on set, working side by side with the Director? That’s pretty cool man! Explain that.

JS:

We had been talking and meeting a little bit. I gave him some ideas and suggestions. He wanted to make sure the world brought some reality of blindness as well and there’s interesting ideas that most people wouldn’t notice. And he’s like I want you next to me at every shot! It was unreal. I learned so much from all the directors, Francis, Lucas and Steven and Fred and Sally and all these amazing directors. They’re all so different and preparing in different ways and how they manage the set and each shot is different. So I learned a lot about how they setup things and their process and how to give input.

As the season goes on there were scenes that have no individuals who are Blind in it that I have input on that made it into the show. It wasn’t just the blindness that I was helping with.

[TR in conversation with JS:]
Are you interested in directing? (Laughs) You’re standing right next to the director man, like you’re already getting all this info.

JS:

You know I could see co-directing with someone.

[TR in conversation with JS:]
Now I know you have your YouTube channel so is this your preparation for being in front of the camera? (Laughs…)
Are we going to see you in See? (Laughs…)

JS:

I had a cameo or two . It hit the editing room floor – some of the scenes got cut. And it wasn’t because of my work. Who knows maybe in season 2.

TR:

Do you hear that optimism? That belief in anything is possible? Don’t get it twisted, that’s a process. Joe wasn’t always feeling that way. Like when he was 19 and diagnosed legally blind.

[TR in conversation with JS:]

If you could go back to some of that initial reaction. What would you tell yourself, your 19 year old self now?

JS:

When I first lost my vision I went through depression and I got counseling. They helped me guide through and understand that blindness and disability is not to end my life or anything. It changes and it changed how I viewed life. I would say embrace all of it.

It would be introducing myself to successful people who are Blind or Low Vision. Go someplace and learn how to use a white cane and learn the skills of independence as a person who is Blind.

People are always going to tell you what you can and can’t do as a person with a disability as a person who is Blind. They like to say no or you can’t do this. Don’t let them say no. During our show most of the things that you see people who are Blind do, I did as well. To figure out or feel. Climbing cliffs, hiking through different areas all kinds of different things that you see , I’ve done.

My buddy Dan Shotz, the show runner will tell you like early on people were like uh, I don’t think he should be doing that. I’m like, are the characters who are Blind doing this, then I’m going to do it. They embraced it. Dan pushed it and really allowed me to put myself out there and show them how we can do things. And if I didn’t have the expertise you know Erik Weihenmayer sent videos about climbing that I shared with Jason Momoa. I reached out to people such as T.Reid, Thomas Reid to share about their life and that was shared with all of our casts and production. Every couple of weeks I shared videos about people who were successful who were Blind or Low Vision from various types of work, backgrounds, life experiences.

[TR in conversation with JS:]
Hold on you’re telling me that Alfre Woodard saw that video?

JS:

Oh yeh, Alfre Woodard saw your video.

[TR in conversation with JS:]

Alfre Woodard saw me? Laughs…

JS:

It’s true, it’s true. Yup!

[TR in conversation with JS:]

Ahh, that’s cool!

Joe Stretch! Dude I told you that I think your story in terms of your hustle and what you’re doing is just so cool and inspiring to folks and to me personally. I definitely salute you, what you’re doing and keep doing it Bro. You’re doing your thing! I’m happy for you.

JS:

Thank you brother. You know how I feel about you and your podcast.

[TR in conversation with JS:]
Yes Sir… laughs…

JS:

Can I say it again?

[TR in conversation with JS:]
You can say it again!

JS:

My favorite podcast!

[TR in conversation with JS:]
Your what?

JS:

My favorite podcast around blindness is Reid My Mind… (Singing) Radio!

[TR in conversation with JS:]

Laughs…Yeh, there it is!

JS:

Woo!

TR:

See

Audio: available on Apple TV Plus.

was released with 3 episodes and subsequent episodes dropping weekly.

Creating See as a premier show for the launch of their network (Apple TV Plus) could be viewed as a risky move.

First, Apple has such a positive reputation with the Blind community. I’m sure they wouldn’t want to risk offending or having negative press like what we saw earlier this year when the CW launched “In the Dark” and the NFB responded with #LetUsPlayUs.

Yes, it’s Sci-Fi but blindness is real. Anyone who understands the power of media knows that it does impact how people view others.

but it appears they made every attempt to get it right.
Apple’s influence on accessibility goes beyond their own products.
When a clear leader of design and innovation makes such an open commitment to access, well it’s clear that others follow suit.

Leading off the launch of their streaming service, Apple TV Plus,
With a show built around a world where
blindness is the norm,
in an actual world where the thought of being blind is so feared.
I don’t know, that to me sounds like Apple once again being bold and let’s hope setting some trends.

This episode sort of made me want to look at whether I’m challenging my comfort level, putting myself out there enough, taking risks. As
people adjusting to blindness, disability I think we should be doing that.

It doesn’t have to be climbing mountains and what not. Those days are done for me. My back just hurts thinking about it. But there are definitely other ways. Who’s with me!

Joe’s experience is a great example of what’s possible.

I know there are some who hear Joe’s story and say he’s lucky. Well, I’ll agree with you. If you’re working with the same definition of luck. That’s when preparation meets opportunity. Because that’s when things happen.

[TR in conversation with JS:]
The coolest thing about watching the first episode was that right when it’s over and then ran the credits and I hear my man,
Audio: “Associate producer, Joe Strechay”, Audio Describer from See.

TR:
Dude I’m on the treadmill and I’m like yeh Joe, yeh! Laughs!

TR:

You can check out See (Available on Apple TV Plus) right now. Just open that TV app and you can get right on it. You can even get the first episode for free.

You can check out Joe on YouTube, his channel is called Joe Strechay. And he’s also on Twitter and Instagram under that same name.
That’s S T R E C H A Y!

TR:
I think this is a perfect way to officially close out the 2019 season.

I may drop an extra holiday episode, but you know there’s only one way to make sure you get that… Subscribe on Apple Podcasts, Spotify, Google Podcasts or where ever you like to get yours.

The podcast will be back in 2020 in time to help make things clear for anyone adjusting to blindness.

In the meantime please help spread the word. I hate to think of another young 19 year old who doesn’t get that help and have the same opportunities to reach their potential

Feel free to reach out and say hello. I love hearing from listeners.

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 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

TR:

Peace!

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