Bill Moyers, who turned 80 on Thursday, has been one of the most prolific and influential figures in American journalism. Not content just to diagnose and document corporate and political malpractice, Moyers has regularly taken his cameras and microphones to cities and towns where unions, community organizations, environmental groups, tenants rights activists and others were waging grassroots campaigns for change. Moyers has given them a voice. He has used TV as a tool to expose political and corporate wrongdoing and to tell stories about ordinary people working together for justice.
He has introduced America to great thinkers, activists and everyday heroes typically ignored by mainstream media. He has produced dozens of hard-hitting investigative documentaries uncovering corporate abuse of workers and consumers, the corrupting influence of money in politics, the dangers of the Religious Right, conservatives’ attacks on scientists over global warming and many other topics. A gifted storyteller, Moyers’ TV shows, speeches and magazine articles have roared with a combination of outrage and decency, exposing abuse and celebrating the country’s history of activism.
Moyers has spent most of his broadcast career on public television, whose audience is considerably smaller than that of the major networks. But his influence — through his documentaries, interviews, books, magazine articles and speeches, and because of the ripple effects of his calls to conscience — has been great nonetheless. He has received over 35 Emmy Awards (including a Lifetime Emmy), a lifetime Peabody Award, an Alfred I. DuPont-Columbia University award, a George Polk Career Award (his third Polk award), induction into the Television Hall of Fame and many other honors for his contributions to journalistic integrity and investigative reporting.
Last October, Bill Moyers announced that he was retiring and that his weekly show, Moyers & Company, would end January 3. Three weeks later, in response to an outpouring of emails, letters and Facebook comments urging him to reconsider, Moyers recanted. He has continued to host the show. His only pushback was to recast the show from an hour to a half-hour format. Keeping up with modern technology, Moyers now has a website that includes not only videos of his TV interviews but also many articles (by Moyers and others) about contemporary politics and activism.
Moyers comes by his progressive class-consciousness and moral outrage naturally. Neither of his parents went to high school. Dirt-poor, they worked as farmers until they could not make it anymore because of bad weather and the boll weevil. When Moyers was born, the family lived in southeast Oklahoma, where his father was making $2 a day working on highway construction. When he got a job driving a creamery truck, they moved to Marshall, Texas.
In a 2008 show Moyers recalled:
The Great Depression knocked him down and almost out, and he struggled on one pittance paying job after another, until finally, late in life, he had a crack at a union job. His last paycheck was the most he’d ever taken home in a week, $96 and change, and he was proud of it. I saw then how unions struggled to preserve the middle class, and can make the difference between earning a living wage and being part of the working poor.
Moyers and his older brother went to Sunday school at Central Baptist Church, where, as he recalled, “we didn’t have baseball cards; we had Bible cards depicting scenes from the scriptures.”
Moyers was recently asked what role his religious faith has played in shaping his political views and journalism.
“When I was growing up, I never heard anyone pray, ‘Give me this day my daily bread,'” Moyers said, “It was always, ‘Give us this day our daily bread.’ That stuck. We’re all in this together. I take ‘We, the People’ seriously because I don’t know how we build a civilization without reciprocity. There’s a moral contract in that Preamble. And although I was brought up in a culturally and religious conservative culture, as a Baptist I was taught that no one has the right to subpoena your conscience.”
On his 16th birthday, Moyers went to work for the local paper, the Marshall News Messenger. One of his first stories was the “Housewives’ Rebellion,” about a group of 15 women who refused to pay Social Security taxes for their maids because they believed that the insurance program was unconstitutional. Their lawyer — former right-wing Congressman Martin Dies Jr.– lost the case. Moyers was thrilled when the Associated Press picked up the story.
Only later did it dawn on him that that the newspaper never covered stories about Marshall’s African Americans, who made up half the town’s population. “For all practical purposes the staff of the paper pretended half of Marshall didn’t exist,” he later wrote.
Moyers left Marshall in 1954 to attend North Texas State College (now University of North Texas). He spent a summer interning on then-senator Lyndon B. Johnson’s reelection campaign. Impressed with the young Moyers, LBJ suggested that he transfer to the University of Texas in Austin. There he majored in journalism and the liberal arts while working full-time as assistant news editor for KTBC-TV for $100 a week.
Graduating in 1956, he studied theology at the University of Edinburgh in Scotland and at Southwestern Baptist Theological Seminary, whereas the weekend pastor of two small rural churches he inflicted “amateurish wisdom on very patient and loving congregations of mostly farmers and their spouses,” as he told NPR’s Terry Gross in a 1996 interview. In 1959, he moved to Washington, DC, to work for Johnson. He helped run LBJ’s 1960 vice presidential campaign as John F. Kennedy’s running mate.
Moyers was a founding organizer of the Peace Corps in 1961 and was appointed its deputy director by President Kennedy. After Kennedy was assassinated, LBJ brought Moyers to the White House as his assistant for domestic policy with responsibility for shepherding the task forces that led to LBJ’s Great Society program.
Moyers played a key role in helping LBJ pass the Civil Rights Act of 1964 and the Voting Rights Act of 1965. He was with LBJ when the president met with Martin Luther King Jr. at the White House and tried to convince the civil rights leader to call off further protests, arguing that they would harden white resistance and make it impossible for him to win over southern senators and representatives, with whom Johnson had often successfully negotiated as Senate majority leader. King disagreed, reminding LBJ of the history of murders, lynchings and humiliation, insisting that the protests were necessary to draw attention to the need for civil rights legislation.
As Moyer recalled: “LBJ listened, as intently as I ever saw him listen. He listened, and then he put his hand on Martin Luther King’s shoulder, and said, in effect: ‘OK. You go out there Dr. King and keep doing what you’re doing, and make it possible for me to do the right thing.'”
TIME magazine put Moyers on its October 29, 1965 cover, under the headline: “L.B.J.’s Young Man In Charge of Everything.”
By 1966 Moyers had reluctantly agreed to be the president’s press secretary, but he found it increasingly difficult to defend LBJ’s escalation of the war in Vietnam. “The things I really cared about–poverty, the Great Society, civil rights–were all being drained away by the war,” he recalled. “The line that keeps running through my mind is the line I never spoke: ‘I can’t speak for a war that I believe is immoral.'”
Moyers resigned from the White House in 1967 and became the publisher of Newsday, a daily newspaper that primarily served New York’s Long Island suburbs. “When I left the White House I had to learn that what matters in journalism is not how close you are to power, but how close you are to the truth,” he said. With Moyers at the helm, Newsday expanded its news agenda, recruited a wide range of writers and won many major journalism awards.
But Harry Guggenheim, Newsday‘s conservative owner, disapproved of the paper’s liberal innovations under Moyers, particularly what he called its “left-wing” coverage of the antiwar movement. In 1968 Guggenheim signed an editorial supporting Richard Nixon’s presidential candidacy, while Moyers published his support of Hubert Humphrey.
Moyers resigned in 1970 and took a 13,000-mile bus trip around the country, armed with a notepad and tape recorder, interviewing people for his best-selling book Listening to America: A Traveler Rediscovers His Country. That year, he began his long relationship with public television, interrupted by a decade (1976-1986) at CBS News.
In order to maintain his journalistic independence, Moyers formed his own production company and raised all the funds for his many productions. At PBS, Moyers, a master of the long interview, has had the freedom to craft his own programs, including Now with Bill Moyers, Moyers on America, Bill Moyers Journal and Moyers & Company, which began in 2012.
He has interviewed important thinkers and activists rarely seen on television, including organizers like Ernesto Cortés, Sarita Gupta, Madeline Janis, Bill McKibben and Ai Jen Poo, historians like Howard Zinn and Harvey Kaye, scientists like René Dubos, philosophers like Joseph Campbell, theologians like Karen Armstrong, economists like Joseph Stiglitz, and provocative writers such as Ta-Nehisi Coates, Wendell Berry, Michelle Alexander and Naomi Klein. He has produced investigative documentaries on a wide variety of topics, including the cost of the Iraq and Afghanistan wars on local communities, campaign finance, inadequate funding for public schools, the rise of the Religious Right, global warming, the dumping of hazardous waste and, in Trade Secrets, the chemical industry’s poisoning of American workers and communities.
Moyers’ 11-part mini-series documentary in 1987, In Search of the Constitution, celebrated the document’s bicentennial, examined its use and abuse by political leaders and included interviews with sitting Supreme Court justices and prominent legal scholars.
Bill Moyers and his colleague Marty Koughan were putting the finishing touches on a 1993 Frontline documentary investigating pesticides in food when a peculiar thing happened. As he related in his book, Moyers on America–A Journalist and His Times:
The [chemical] industry somehow purloined a copy of our draft script and mounted a sophisticated and expensive campaign to discredit our broadcast before it aired. A Washington Post columnist took a dig at the broadcast on the morning of the day it aired–without even having seen it–and later confessed to me that the dirt had been supplied by a top lobbyist for the chemical industry.
In addition, the American Cancer Society distributed talking points to columnists and other opinion makers that were written by Porter Novelli, a public relations firm that also had several chemical companies as clients.
Later that year, the documentary, In Our Children’s Food, won an Emmy for investigative journalism. But the experience was one more reminder to Moyers of the corrosive effect of corporate power on the common good.
Moyers’s 2007 documentary Buying the War reported how most of the press corps became complicit with the Bush administration’s invasion of Iraq. “If the watchdog doesn’t bark,” Moyers said about the show, “how do you know there’s a burglar in the basement? And the press is supposed to be a watchdog.”
In a June 2008 show about America’s “new Gilded Age,” Moyers documented the fact that the nation’s widening economic divide was making it harder and harder for working families to make ends meet. During the broadcast, Moyers said, “Can we put aside that old canard spouted by Wall Street apologists every time someone calls for greater equity between working people and the rich? Truth is, there’s been a class war waged in America for 30 years now from the top down, and the rich have won.”
Moyers interviewed Glenn Greenwald, then a blogger at Salon, about government secrecy and other topics in 2009, years before Greenwald became a household name as a result of his reports exposing United States and British surveillance program based on classified documents disclosed by Edward Snowden.
The Nation called Moyers “the most radical presence on broadcast and cable television” but also pointed out that, to generate lively debate, he has consistently invited conservative thinkers onto his show, including Richard Viguerie, Cal Thomas and Ron Paul.
Moyers has often used his power as a broadcast journalist to uncover the unseemly entanglement of big business and politicians. “If a baseball player stepping up to home plate were to lean over and hand the umpire a wad of bills before the pitch, we would know what that was: a bribe. But when the tobacco industry stuffs $13 million in the pockets of the merry looters in Congress and gets protection in return, we call that a campaign contribution.”
Three years ago, in collaboration with the Center for Media and Democracy, Moyers exposed the inner workings of the American Legislative Exchange Council (ALEC), a corporate front-group that promotes state-level legislation designed to increase corporate profits at public expense without public knowledge.
In a broadcast about the concentration of media ownership, he pointed to “the paradox of Rush Limbaugh, ensconced in a Palm Beach mansion massaging the resentments across the country of white-knuckled wage earners, who are barely making ends meet in no small part because of the corporate and ideological forces for whom Rush has been a hero.”
Moyers admires what he called the “Mount Rushmore of muckraking” journalism, including Lincoln Steffens, Ida Tarbell, Upton Sinclair and I. F. Stone.
But if he could be anyone today, Moyers said, it would be Ambrose Bierce.
Philanthropic Sector Leader Aaron Dorfman Joins Capital & Main Board of Directors
Dorfman is a nationally respected leader in the field of philanthropy, with deep connections to foundations across the country, and has a long background in community organizing.
Aaron Dorfman, president and CEO of the National Committee for Responsive Philanthropy (NCRP), has joined the board of directors of Capital & Main, a nonprofit investigative news publication.
Dorfman is a nationally respected leader in the field of philanthropy, with deep connections to foundations across the country, and has a long and impressive background in community organizing. He has led NCRP for 11 years, building the organization into an influential advocate for increased philanthropic investment in long-term social change. NCRP defines itself as a “research and advocacy organization that works to ensure that America’s grantmakers and wealthy donors are responsive to the needs of those with the least wealth, opportunity and power.”
Danny Feingold, publisher of Capital & Main, described Dorfman as “a passionate champion of philanthropy that truly moves the needle on the biggest challenges facing the nation.”
Dorfman brings a wealth of experience and knowledge to Capital & Main’s board, along with a keen understanding of the critical role of investigative journalism in exposing the misuse of power. A thoughtful critic, he frequently speaks and writes about the importance of diversity, equity and inclusion in philanthropy, the benefits of funding advocacy and community organizing, and the need for greater accountability and transparency in the philanthropic sector.
Before joining NCRP in 2007, Dorfman served for 15 years as a community organizer with two national organizing networks, spearheading grassroots campaigns on a variety of issues. He holds a bachelor’s degree in political science from Carleton College, a master’s degree in philanthropic studies from the Lilly Family School of Philanthropy at Indiana University and serves on the board of The Center for Popular Democracy.
Dorfman joins University of Southern California professor Manuel Pastor, entrepreneur and philanthropist Joseph Sanberg, alternative energy business leader Cole Frates, former L.A. Times business editor Rick Wartzman, author/journalist Erin Aubry Kaplan, American Prospect executive editor Harold Meyerson and author/journalist Alissa Quart, among others, on the Capital & Main board. The publication’s advisory board includes former Labor Secretary Robert Reich, Vice President Joe Biden’s former chief economist Jared Bernstein and author Barbara Ehrenreich, among others.
Capital & Main is an award-winning publication that reports on the most pressing economic, environmental and social issues of our time. Winner of the 2016 Online Journalist of the Year prize from the Southern California Journalism Awards and a 2017 Best in the West award, Capital & Main has had stories co-published in more than 30 media outlets, from The Atlantic, Time, Reuters, The Guardian and Fast Company to The American Prospect, Grist, Slate and the Daily Beast.
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Stage Review: Workers Drown in Blood, Sweat and Beers
Sweat ‘s unflinching mission is to lay out the slow strangulation of the American Dream.
Two young men, Jason and Chris (Will Hochman and Grantham Coleman, respectively) meet with a parole officer (Kevin T. Carroll) after their release from prison. The revenants are little more than shadows from a more prosperous past that holds the secret to the crime that sent them behind bars. And yet our interest really doesn’t rest with their felony, which we’re only reminded of whenever designer Anne Militello’s lights go down cold and low, and other characters begin frowning at the two. The play’s true dynamic is the fraying, metaphoric friendship between mill workers Tracey (Mary Mara) and Cynthia (Portia). The middle-age women, mothers to Jason and Chris, and die-hard union members, have both applied for a single management position in their factory. When Portia, who is black, receives the promotion, white Tracey and others in the bar turn against her.
Toggling between boozy 2000 and penitent 2008, the story’s issues play out like a series of grievances: The betrayal that African-American characters feel toward both the company and a union that has kept them at arm’s length; the hurt that the dope-addled Brucie (John Earl Jelks) has inflicted on his wife, Cynthia; the resentment that bartender Stan (Michael O’Keefe) harbors against a company that threw him out after nearly 30 years because of a shop-floor accident. These wounds all become exacerbated — and the bar, a toxic debate forum — when the company radically downsizes and makes crippling demands of the union.
Sweat‘s strength lies in its unflinching mission to lay out the slow strangulation of the American Dream, as that dream was imagined by different parts of the country’s post-war working class — from self-entitled whites to stifled minorities to aspiring Latino immigrants. Under Lisa Peterson’s broad direction at the Taper, the play’s latent weaknesses become vividly apparent — the reduction of the ensemble’s personalities to colorful “types,” the lack of onstage villains and the fact that the pivotal Cynthia never seems in any kind of emotional conflict with her erstwhile factory buddies. (They’re pissed off at her, but she never really bites back at them, despite her announced desire to better herself.) The actors get loud enough but, with the exception of Portia, lack ensemble chemistry; a few actors even seemed to have difficulty pronouncing the word “ain’t.”
Mark Taper Forum, 135 N. Grand Ave., Los Angeles. Wed.-Fri., 8 p.m.; Sat., 2:30 & 8 p.m.; Sun., 1 & 6:30 p.m.; thru Oct. 7. (213) 628-2772.
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‘Skeleton Crew’ Is a Play With a Moral Spine
Set in a Detroit automobile outfitting plant, Dominique Morisseau’s drama grabs you from the start with its focus on blue-collar men and women, and their struggle for dignity and self-respect.
Directed by Patricia McGregor at Los Angeles’ Geffen Playhouse, Skeleton Crew is a play with a moral spine. It takes place in 2008, when the shrinking U.S. auto industry is being further downsized. Morisseau’s engaging quartet of characters — Faye (Caroline Stefanie Clay), Dez (Armari Cheatom), Shanita (Kelly McCreary) and Reggie (DB Woodside) – are employed at an automobile outfitting plant. Faye, Dez and Shanita are workers on the line while Reggie (who has a wife and kids, and has pulled himself together after a troubled youth) is their supervisor.
The first three customarily mingle in their break room (designer Rachel Myers’ impressively cluttered, dingy and detailed set), trading the sort of familiar barbs and genuine concern for each other common among longtime co-workers. They also face off on philosophy: Upper-middle-aged Faye and the younger, pregnant Shanita take pride in their labor, while Dez, though a good worker, is a malcontent scornful of management and firm in the belief that everyone needs to watch out for himself. He’s a thorn in Reggie’s side, for while Reggie wants to be supportive of his workers, he must act at the behest of higher management. For his part, Dez resents Reggie’s authority, and a palpable unease exists between them.
Besides this male matchup, we’re made privy to Dez’s attraction to Shanita, who mostly turns away his advances, but every now and then displays a hint of interest. Most poignant is Reggie’s regard and affection for the lesbian Faye, which has roots in his boyhood when she loved, and lived, with his now-deceased mom.
These people’s various predicaments intensify when rumors spread of the plant’s shutdown — a disaster for all, but a particular calamity for the already near-broke Faye who, one year short of retirement, would lose her pension. The crisis forces each of these people to make a choice.A sound piece of social realism, Skeleton Crew grabs you from the start in its focus on blue-collar men and women, and their struggle against odds for dignity and self-respect. Morisseau not only furnishes these characters a platform for their travails, she endows them with strong values, big hearts and the opportunity to choose between right and wrong.
Unfortunately, the performance I attended did not soar. Many exchanges lacked a fresh edge. The actors certainly had their characters down, but too often they appeared to be coasting on technique. (This seemed particularly true of Clay, who performed the role to great accolades in Washington, DC in 2017, also under McGregor’s direction). Additionally, some of the stage movement was not entirely fluid; in confrontations, actors sometimes would just stand and face each other in an artificial way. And Cheatom’s interpretation of Dez struck me as a bit overly churlish and depressive: I needed more glimpses of the intelligence and edge that would secretly attract the strong, self-directed Shanita.
The most compelling moments belong to Woodside, well-cast as a man trying his best in difficult circumstances to do the right thing.
Gil Cates Theater at the Geffen Playhouse, 10886 Le Conte Ave., Westwood Village; Tues.-Fri., 8 p.m.; Sat., 3 & 8 p.m. Sun., 2 & 7 p.m.; through July 8. (310) 208-5454 or www.geffenplayhouse.org
The Power of the Poster
Carol Wells, the founder of the Center for the Study of Political Graphics in Los Angeles, talks to Capital & Main about the enduring power of political art.
Now over 40 years later, Wells is the founder and executive director of the Center for the Study of Political Graphics in Los Angeles. Wells has amassed approximately 90,000 posters, building one of the largest collections of its kind in the world. The Center shares its collection with the public in part through curated exhibits. This year the CSPG has produced Feminae: Typographic Voices of Women by Women and its latest is To Protect & Serve? Five Decades of Posters Protesting Police Violence, running through July 15 at the Mercado La Paloma in downtown Los Angeles.
Since that encounter in Nicaragua in 1981, Wells’ obsession with collecting posters hasn’t waned. In CSPG’s nondescript West L.A. office space, Wells pulls out poster after poster, lecturing passionately on the backstory and cultural impact of each, including one that superimposes text from a New York Times interview with a shocking image of the My Lai massacre (“Q: And babies? A: And babies.”). Recently, she managed to sit down with C&M to discuss her passion.
Capital & Main: So, you were an art history professor, you happen to see a kid on a trip, and suddenly your life was changed forever?
Carol Wells: Yeah, I’m in Nicaragua alone in the living room with this kid. He’s looking around, and all of a sudden, he sees the poster. It was pretty big, bright green, a thick outlines of a woman holding a big basket of coffee beans. And the text in Spanish said, “In constructing the new country, we are becoming the new woman.” I see him walk over to the poster and I’m watching him mouth the words. It was a pretty sophisticated concept, so I doubt he figured it out. But I literally had this epiphany: “Oh my God. That’s how posters work.” You’re going about your daily life, and all of a sudden something breaks through the bubble, and it grabs your attention. It’s the graphic, it’s the color, it’s the combination, and it pulls you out of your head and into that poster and it makes you ask a question. “Why is this here? What is this about? What does this mean?” And every time you ask a question, you’re a different person than you were before you asked the question.
How many posters do you get a year?
We get between two to five thousand a year donated from all over the world. The bulk of our collection is [from] 1945 and later.
I assume technology has probably hurt the art form, but has it helped get the messages out?
Most people think that, and it’s actually not true. Since the internet age started, there’s actually a poster renaissance of works on paper. Because you can’t walk with your computer monitor in a demonstration. You can’t plant your monitor on your lawn.
And you can’t put a laptop on the wall…
Exactly. You want to hear a really great story? Truthdig.org published a cartoon [made by] a political cartoonist named Mr. Fish. It was during the Arab spring, and he had superimposed Che Guevara with the stylized beard and King Tut’s face, but it had Che’s beret. And it [was titled], “Walk like an Egyptian.” So, it was a reference to the music, but [it was also] a reference to what was going on the streets of Cairo. I sent it out as our poster of the week to 9,000 people. The very next day, somebody took a photograph on the street of Cairo, with somebody holding a piece of paper with that image on it. A poster can literally go around the world and people will print it out.
What struck me in viewing your exhibits is how many of these posters could still be used today, not only artistically but also, sadly, in the timeliness of their messages.
We had this fabulous poster by Yolanda Lopez, a Bay Area artist, which she first did in 1978. It depicts a young man in Aztec garb pointing a finger like Uncle Sam saying, “Who’s the illegal alien, PILGRIM?” And it’s a great poster, it’s simple, not too many words, funny, provocative. So, we had an exhibit at UCLA in the mid ‘90s and there were 4 or 5 high school students standing around this poster saying, “Wow, you’ve got posters up to the minute.” And I went over to them and I said, “Look at the date. This is before you were born.”
Is that one of your goals with the exhibitions? To show the evergreen nature of this work?
Absolutely. I mean that’s why we did the police abuse exhibition now. It basically goes back five decades. It’s 50 years of posters protesting police abuse. Mainly in the United States, but also internationally.
What’s the goal for CSPG?
Well the aim right now is really to digitize the collection and get it online. We have 10% of the collection digitized. But the mission is to collect and to document, because stories get lost. All the exhibitions, they’re showing massacres, they’re showing genocide, they’re showing police abuse, they’re showing all of these horrible things. And people often ask me, “How can you look at this stuff all day long?” I said, “Because the poster artists are optimists. They believe people can change if they have the information.”
Yes, that’s the reason why they’re doing it, right?
That’s why they’re doing it, and that’s why I’m doing this, because I believe that people can change if they knew the truth.
And what happens 20, 50 years from now?
Well, my goal is to stay independent, because the other option is to become part of the university. Universities, for all the fabulous things that they do, they also censor. We did an exhibition at USC in 1992 on the 500 years since Columbus, and how the legacy of racism and exploitation and genocide continues. And one of the board of trustees was Italian and took [the exhibit] as an affront to Columbus. It really wasn’t about Columbus, it was about colonialism. And he ordered it down.
Do you have a favorite poster?
I’m always amazed at the creativity and vision of artists. Every week I’ll say, “Oh my God, how do they think of that?” But it’s always still going to be the poster I saw that kid trying to figure out. It has to be my favorite one because that one changed my life.
What makes a perfect poster?
The right balance between aesthetics and message. If you only rely on the corporate press, the New York Times and L.A. Times, for your information, you’re not going to get the side from the street, from the movement, from the activists. The posters are primary historical documents that are recording the issues that were at the time, and the passions that were at the time, and the divisions that were at the time. You’re not going to get it anyplace else.
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Blindfolds: Iranian Hostage Drama Offers Few Surprises
One of the play’s weaknesses is the surfeit of soap-operatic family exchanges that spill into melodramatic shouting matches.
Against the wishes of the Carter administration, a mother of one of the hostages, Barbara Timm, flew to Tehran to see her son. Hostage, by Michelle Kholos Brooks, re-imagines the exchange that took place among Barbara (Tracie Lockwood), her captive son Kevin (Zachary Grant) and two of his captors: Tehran Mary (Vaneh Assadourian), a media spokeswoman for her cause and Ebrahim (Satiar Pourvasei), a rifle-wielding guard swift to anger. The drama, some of which takes place in Barbara’s mind, shifts between the embassy, where a handcuffed, blindfolded and barefoot Kevin has been doing his best to survive, and Barbara’s Wisconsin living room, where she struggles to cope with both a controlling ex-husband and an angry mob outside her home. The latter has gathered to protest a public statement she made critical of the failed rescue attempt to free the hostages — a statement interpreted by “patriots” as her having taken the side of the revolutionaries.
As the drama progresses, scenarios begin to overlap; Kevin, always on Barbara’s mind, is physically present onstage as she disputes with her former spouse about the latter’s parental responsibility — or lack of it — and whether or not he betrayed her when they were teens, salaciously spreading the word about their intimacy. An argument also ensues between Richard and Barbara’s current husband, Ken (Jack Clinton), who accompanied Barbara to Iran and has open-heartedly raised Kevin as his own.
Directed by Elina de Santos, Hostage aims to explain and garner sympathy for both sides, but it offers few surprises or depth. One of its weaknesses is the surfeit of soap-operatic family exchanges that filter attention away from more vital dramatic themes: how far a mother is prepared to go to protect her child and the distance its pivotal character, a Midwestern matron and a Republican, will ideologically travel before the play’s catharsis (the dynamic most interesting to us). While these threads, as well as the propensity for intolerance of people on both sides of the cultural divide, are clearly most central, they get obscured for long stretches by melodramatic shouting matches between Kevin’s two fathers or the past marital problems of Barbara and Ken.
Grant turns in a well-grounded performance as the palpably fearful Kevin, drilled in compliance and anxious for his mother to understand how precipitous his situation is. But other performances on opening weekend were less persuasive. Lockwood, usually an excellent actor, did not seem entirely comfortable as the maternal lioness the playwright aims to conjure. One problem is the script, which calls for her to assertively challenge Kevin’s captors’ motives and beliefs — a device for getting us to understand where they are coming from. Some of these confrontations appear as the artifices they are. None of the other actors were able to get past the polemical nature of their roles, either. One hopes they will evolve.
Designer Stephanie Kerley Schwartz’s no-frills set features an American flag splayed across the back wall — albeit behind a scrim, an apt reference to the covert power wielded (this time not so successfully) by our government.
Skylight Theatre, 1816½ Vermont Avenue, Los Feliz; Fri.-Sat. & Mon., 8 p.m.; Sun., 2 p.m.; through June 24; (213) 761-7061 or (866) 811-4111.
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Actress Speaks Out Against Lunch Shaming in School Cafeterias
When a student doesn’t have enough money for lunch, cafeteria staff in many school districts take away the child’s tray of hot food and hand the student a brown paper bag containing a cold cheese sandwich and a small milk.
Capital & Main: What exactly is lunch shaming?
Debrianna Mansini: Lunch shaming happens when a child’s family owes money to the school lunch program, and a cafeteria worker has to refuse to serve the child a hot lunch. (I don’t want to disparage cafeteria workers. A lot of them don’t want to do it — they’re required to.)
I read about it in the New York Times and it just horrified me. Shaming kids about food and poverty? This will this affect them their whole lives.
How does lunch shaming usually work? Are children ever denied food altogether?
When a student doesn’t have enough money for lunch, cafeteria staff in many districts take away the child’s tray of hot food and hand the student a brown paper bag containing a cold cheese sandwich and a small milk. Some schools take away their lunch entirely. Sometimes the child gets a stamp on their hand. It’s kind of akin to having a scarlet letter.
How widespread is the problem?
An alarming number of American youngsters still can’t afford a $2.35 lunch. In 2016, 18 percent of kids were living in poverty, according to the Children’s Defense Fund. According to the National Center for Children in Poverty, the figure is 21 percent. The poverty rates are highest among minorities.
Yet anti-shaming legislation has been passed in New Mexico and California, has it not?
In April of 2017 New Mexico’s [Governor] Susana Martinez signed the Hunger-Free Students’ Bill of Rights, which directs schools to work with parents to pay their debts or sign up for federal meal assistance. And it puts an end to practices meant to embarrass children.
In October 2017, [California] Governor [Jerry] Brown signed SB 250. authored by state Senator Robert Hertzberg. It ensures that children will not denied a full lunch because of their parents’ debt.
Does that mean parents no longer have to pay?
The law specifically says that districts are not required to give parents a pass on not paying indefinitely. Instead it requires that districts do all they can to enroll families in the federally subsidized school lunch program and also to notify families – not bill collectors — of unpaid balances as soon as they are 10 days behind.
Is there a group or individuals spearheading a national campaign to abolish it?
NM Appleseed is a non-partisan nonprofit with a mission to create systemic change for the poor and underserved. The organization helped pass the bill in New Mexico and has since been in contact with 32 other states about passing legislation. On the federal level, Congresswoman Michelle Lujan Grisham is carrying a bill in the House and Senator Tom Udall is carrying a version in the Senate.
Besides legislation, what are some of the ways groups and individuals are helping to deal with childhood hunger and lunch shaming?
The Community Eligibility Program, set up by the USDA [U.S. Department of Agriculture] in 2010, has become a lifesaver. It gives free lunches to every student in a school where at least 40 percent of the families are extremely poor and automatically qualify for government aid. Another solution is the federal free meal program. But not every struggling family meets the income requirements, and those that do may have language barriers or fears over immigration status or fail to file the paperwork.
Rob Solomon, chief executive of GoFundMe, said it had about 30 active campaigns to raise money for meal debt. One man started Feed the Future Forward, which hosts crawfish boils and golf tournaments to raise money. It has wiped out more than $30,000 in food bills so far.
What’s the connection between your show and the cause?
The Meatball Chronicles is a love story centered around the power of food and family. When I heard about lunch shaming, I thought this is something I can actually speak about through my show, which is about our relationship with food. The piece is stand-alone, but I use the time before the audience to raise people’s awareness.
I believe food can heal not just our bodies but our souls. And what better way to bring all that together but through theater?
Copyright Capital & Main
Two Cousins and a Magical Ice Cream Truck Figure in Leon Martell’s New Play
Although not all of ICE‘s comedy clicks, Martell’s story has both weight and charm. The production’s overriding plus is its successful rendering, fashioned with humor and craft, of the difficulties immigrants face.
The core of the humor is the difference in personality between the two cousins. The ambitious Chepe is bitter and frustrated about his experience in America, where he’s been cheated and lied to by bosses who exploit his labor and pay him next to nothing. Yet he’s bought into the American Dream of money and fame, and to achieve that he’s purchased a dilapidated old ice cream van to convert into a taco truck. It doesn’t run, though, and the secret family salsa recipe is with his kin in Mexico. So, he phones home and implores his mechanic cousin to head north, bringing the salsa recipe as well as his skills.
Cousin Nacho, by contrast, is a sweet old-fashioned guy. He wants success too, but making money isn’t the only thing he thinks about. He juggles tomatoes to make kids laugh and indignantly admonishes Chepe for his desperate inclination to do what it takes (steal tomatoes, for example) to score success.
Into the mix Martell tosses a blind, disgruntled priest (Davitt Felder), who plays guitar and wants to launch English classes for children in his parish (the archdiocese turns him down). Then there’s Chepe’s truck, which has opinions of its own. It breaks out in jingles at random intervals; later, it communicates with Nacho via blinking red letters that eerily appear on the side of the vehicle, furnishing the two men with simple directives and essential advice. When ICE (Immigration and Customs Enforcement) shows up, it alerts them to run.
Although not all of the comedy clicks, Martell’s story has both weight and charm. The production’s overriding plus is its successful rendering, fashioned with humor and craft, of the difficulties immigrants face. Its main weakness is Castaños-Chima’s technically skilled but somewhat chilly depiction of his character, which leaves us wishing for more warmth and complexity. Felder appears awkward in his role of the blind priest, but proves versatile on video as Chepe’s various nemeses. Dúran’s naïve Nacho is a lovable presence from first to last.
Displayed on a monitor, Matthew G. Hill’s video slides add historical and social perspective, and his backwall projections, in tandem with Dan Weingarten’s lighting and Chris Moscatiello’s sound, help conjure a magical aura to this parabolic piece.
24th Street Theatre, 1117 West 24th St., Los Angeles; Sat., 3 & 7:30 p.m.; Sun., 3 p.m.; through June 10, (213) 745-6516 or 24thstreet.org.
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‘Ameryka’ a Biting Commentary on Our National Psyche
A new staging of Nancy Keystone’s award-winning political play comes to the Kirk Douglas Theatre in Culver City.
A collaborative effort of Keystone’s Critical Mass Performance Group, the play speaks to the struggle of ordinary citizens for a voice in their destiny and the tactics and hypocrisy of the powerful forces that would silence them. Originally staged in 2016 at the Shakespeare Center Los Angeles, here it’s played out on a large spare proscenium (set by Keystone) at the Kirk Douglas Theatre as part of Center Theatre Group’s “Block Party” project, which supports smaller LA. Companies. The patchwork narrative shifts back and forth among the American Revolutionary War period, the 1950s under McCarthyism, the 1980s, when a two-faced Reagan administration fired striking air traffic controllers while supporting the striking Polish Solidarity movement abroad, and the early years of this century when the CIA, obsessed with the war on terror, established a base in Poland, sweetening its presence with American dollars.
These scenarios are peopled with both fictional and historical personages, including Tadeusz Kosciuszko (Jeff Lorch), a Polish military officer and passionate democrat who fought with the colonists against the British, his friend Thomas Jefferson (Curt Bonnem), who spoke against slavery but kept his slaves, and Kosciuszko’s military aide during the Revolutionary War, Agrippa Hull (Lorne Green), a free black man and soldier whose accomplishments inspired Kosciuszko to champion abolitionism, in contrast to Jefferson (who was charged by Kosciuszko to use his estate after he died to help free slaves, and promised to do so but never did). A scene where Kosciuszko and Jefferson dine at Monticello and discuss the evils of slavery, while being catered to by Jefferson’s slave (Ray Ford), is only one of the pungently ironical moments the play serves up.
Twentieth century personages include a pious William Casey (Russell Edge), who leads a prayer vigil with his underlings before plotting to implement a national directive challenging the Soviets through Poland (“Fuck Yalta”), Anna Walentynowicz (Valerie Spencer), a colleague of Lech Walesa, and Father Jerzy Popieluszko (Lorch), the pro-Solidarity priest assassinated in 1984.
After opening with the rough-handed arrest of Walentynowicz by Polish security agents, the play harks back to 1959. (Fictional) jazz musician Gene Jefferson (Ford) visits Poland, where he discovers that Poles love jazz and other things American, including Westerns and Gary Cooper. An African-American who steels himself daily against condescending racism (illustrated by his prior interview with a State Department official) he’s taken aback at their rah-rah America enthusiasm. That same cultural disconnect manifests in a scene from the ’80s; a gay American man named Ray (Ford) recounts meeting this terrific Polish guy in a bar, only to be put off when the Pole sings Reagan’s praises for supporting Solidarity. To Ray, Reagan’s legacy are the thousands of AIDS victims.
A complex entangled piece, Ameryka packed a punch when it was staged at the Shakespeare Center nearly 18 months ago (winning the Stage Raw award for Production of the Year) but loses some of its edge in the larger space at the Kirk Douglas. Less than optimal acoustics seem to be part of the problem. Many of the original ensemble members are reprising their roles; one exception is Lorch, recently brought in to replace the original actor. His work is fine, as is everyone’s, but I did wish for more distinctive and distinguished ardor from this character in particular.
Still, Ameryka remains a substantive, historically informative work, a biting commentary on the contradictions and illusions that bedevil not only our own national psyche but others. It’s the sort of drama we need more of.
Critical Mass Performance Group, Kirk Douglas Theatre, 9820 Washington Blvd., Culver City; (213) 628-2772, online at www.CenterTheatreGroup.org; Wed.-Sat., 8 p.m.; Sat., 2 p.m;, Sun., 1p.m.; through April 29.
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A Woman’s Art Is Never Done: The Feminae Exhibition
A striking juxtaposition between the past and present courses throughout the small gallery. Celia Blomberg’s “International Women’s Day March 8” can’t help but make one think of 2017’s Women’s March, which occurred 37 years after the print’s first appearance.
However, political posters aren’t made to merely spruce up walls, but to help figuratively bring barriers down as well.
Two silkscreens from the 1970s, Liliana Porter and John Schneider’s “This Woman is Vietnamese” and See Red Woman’s Workshop’s “So Long As Women Are Not Free People Are Not Free,” are particularly powerful, underscoring, as they do, the fact that the subjugation and persecution of women crosses borders and cultures as an unfortunate shared global experience. These two pieces’ stark simplicity exemplifies most of the work in the exhibit. In the former, a New York Times photo of a distraught Vietnamese woman with a gun held to her head is centered above these basic words typed out in a typewriter font:
This woman is
By juxtaposing the photo with these words, the creators take the plight of this woman and immediately globalize her pain. In the latter, three female demonstrators are silkscreened in red onto a yellow background. They are marginalized by being stuck in the lower left third of the poster, but two of them are raising their fists skyward and their mouths are open, screaming in defiance. Its non-serif, eponymous type reads:
This piece’s message takes the global message even farther, making the plight of women a human one — a common theme in the exhibition.
There is also a striking juxtaposition between the past and present that seethes throughout the small gallery. Celia Blomberg’s “International Women’s Day March 8” can’t help but make one think of 2017’s Women’s March that would take place 37 years later. See Red Woman’s Workshop’s 1977 “Black Women Will Not Be Intimidated” could easily be repurposed to address the recent spate of blue-on-black brutality. Notable works by Barbara Kruger, Sister Corita Kent and the Guerrilla Girls are also included.Ironically , while it can be surmised that most of these works were made as populist posters to be distributed at the time as banners of protest, their beautiful simplicity and nostalgic elegance probably have resulted in the originals (mostly now found in art museums) sporting hefty vintage-resale prices.
But it is not just the art that has stood the test of time. The fact that the issues addressed in the show — feminism, choice, gender equality, war, immigration, police brutality or violence against women — are all issues at the forefront of debate in 2018 ultimately engenders conflicting feelings.
On one the hand, it is inspiring to see a vibrant exhibit that showcases such diversity in artistic styles, no doubt spawned by the diversity of the artists’ own backgrounds. On the other hand, there is a realization that while there has been some progress over the past half century, there is so much work to be done.
Art Center’s Hoffmitz Milken Center for Typography, 950 South Raymond Ave., Pasadena; through May 15.
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Award-Winning Reporter David Sirota to Lead National Investigative Desk on Inequality for Capital & Main
The New York Times has credited Sirota’s Wall Street reporting for showing “that secrecy can hide high fees, low returns, excess risk and the identity of politically connected dealmakers.”
LOS ANGELES — Capital & Main announced today that award-winning reporter David Sirota will lead a new national investigative desk for the California-based publication. His coverage will focus on the country’s historically high level of economic inequality, and the role of Wall Street, the private sector and government policy in perpetuating income disparity.
“I am thrilled to join one of the most promising young investigative publications in the country,” said Sirota. “There has never been a greater need for aggressive nonpartisan reporting that scrutinizes how corporations, lawmakers and the super-rich wield political and economic power. Capital & Main has established a reputation as an intrepid source of hard-hitting investigative reporting. I am excited to expand their capacity to shine a spotlight on how and why America now has the highest level of economic inequality in the country’s modern history.”
Sirota will join Capital & Main as a full-time reporter this summer, and prior to that will consult with the publication on editorial content and partnerships. The new position was made possible in part by a grant from the Jonathan Logan Family Foundation in Oakland, CA.
Capital & Main is a non-profit publication founded in 2013 and its reporting has been co-published by (among others) The Atlantic, Time, The Guardian, Reuters, The Daily Beast, Slate, Grist, Fast Company, The Huffington Post and Newsweek. Capital & Main’s reporting has won recognition from the Society of American Business Editors & Writers, the Southern California Journalism Awards and the Best of the West contest. Its reporters have been featured on (among others) PRI’s The World, WNYC’s The Takeaway, as well as on programs on KQED and KCRW.
Sirota has reported extensively on the relationship between money and politics, and has gained a reputation as a journalist willing to scrutinize public officials of both parties. During his career, he has become one of American journalism’s most authoritative experts on complex financial systems including taxes, hedge funds, private equity and public pensions. He is a two-time winner of the Best in Business award from SABEW – most recently for his coverage of the 2017 Republican tax bill and its controversial “Corker kickback” provision. Before that, he won recognition from the Columbia Journalism Review for his reporting on how conflicts of interest shaped how Democratic Gov. Dan Malloy’s administration oversaw a proposed health-care merger. Sirota has also won Ithaca College’s Izzy Award and has been a finalist for UCLA’s Gerald R. Loeb Award and Syracuse University’s Mirror Award.
The New York Times has credited Sirota’s Wall Street reporting for showing “that secrecy can hide high fees, low returns, excess risk and the identity of politically connected dealmakers.” In one of its awards, SABEW said Sirota has produced “original, tenacious reporting that displayed a mastery of scouring documents, analyzing data and holding public officials accountable.” The legendary late columnist Molly Ivins said, “Sirota is a new-generation populist who instinctively understands that the only real questions are ‘Who’s getting screwed?’ and ‘Who’s doing the screwing?’”
“David Sirota is one of the finest investigative reporters in the country, and he promises to take Capital & Main’s reporting on inequality and related issues to a whole different level,” said Capital & Main board member Rick Wartzman, a former Wall Street Journal reporter, Los Angeles Times business editor and the author of four books, including The End of Loyalty: The Rise and Fall of Good Jobs in America. “David’s fearless approach to holding the powerful to account is precisely what we need at this moment in time.”
From 2014 to 2018 Sirota led International Business Times’ investigative reporting team, where he broke major stories on how President Trump’s top adviser evades ethics laws as he shapes policies that could enrich his firm; CFPB chief Mick Mulvaney’s ties to the financial industry — and how he pressured regulators to back off predatory lending rules at the same time he was raking in cash from payday lenders; how Equifax lobbied against consumer protection rules just before its huge data breach; and how chemical companies that spewed toxins after Hurricane Harvey had worked to reduce safety regulations in the lead-up to the disaster.
In 2014, Sirota’s investigative series for PandoDaily about public broadcasting compelled a PBS flagship station to return a $3.5 million contribution from a hedge fund billionaire. That same year, Sirota’s investigative reporting about pensions for PandoDaily and then for International Business Times led the New Jersey state government to open a formal pay-to-play investigation and to divest state holdings in a venture capital firm. Sirota’s reporting for International Business Times also led San Francisco officials to delay a proposed $3 billion investment in hedge funds.
“We have been longtime admirers of David’s work, and couldn’t imagine a better fit for our reporting on inequality,” said Capital & Main publisher Danny Feingold. “David will give us the capacity to break important national stories on one of the country’s great existential threats.”
Sirota is also the author of two New York Times best-selling books, Hostile Takeover and The Uprising, as well as Back to Our Future, which became the basis for the National Geographic Channel’s miniseries “The ’80s: The Decade that Made Us.” He appears frequently on MSNBC and CNN, and is the host of a podcast on economic, political and social issues.
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