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World News

A Century After the Titanic Sank, a Movie Tries to Rescue 6 Survivors’ Tales

Much about the Chinese sailors’ lives was influenced by the currents of history, including their presence on the Titanic to begin with. Labor strikes in Britain had left them without work, so their employer reassigned them to a North American route. The Titanic was supposed to take eight sailors as third-class passengers from Southampton, England, to their new ship in New York.

When the liner struck an iceberg late on April 14, the eight men acted quickly. Five made it into lifeboats, but the other three fell into the subzero water with hundreds of others as the ship was swallowed by the sea.

Two of those three sailors, Lee Ling and Len Lam, are believed to have died in the water. The third, Fang Lang, clung to a piece of debris and waited until a single lifeboat returned to search for survivors, making him among the last to be saved.

Credit…Photo Courtesy of the Fong Family

Fang’s rescue was the inspiration for the end of the movie “Titanic,” and was even portrayed in a deleted scene. (Mr. Cameron, an executive producer of “The Six,” is interviewed in the film.) But for decades after the sinking, the Chinese survivors were painted by the ship’s owner and the news media in a negative light, which may have been one reason their story remained unknown even to some of their descendants.

As the liner sank, four of the men reached a crowded, but not full, lifeboat that included J. Bruce Ismay, the Titanic’s owner, who was later criticized for not going down with his ship. Speaking to investigators after the disaster, Mr. Ismay described the Chinese men as stowaways. News reports also accused them of dressing as women so their rescue would be prioritized.

Though the filmmakers planned to report whatever they discovered, “it turns out we didn’t find any direct evidence of them doing things they were accused of and there was a much better explanation,” said Arthur Jones, the Shanghai-based director of the film.

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Entertainment

Examine Exhibits Extra Incapacity Tales Onscreen, however Few Disabled Actors

Let’s start with the good news: The significant representations of disability in film and television programs have almost tripled in the past decade compared to the past 10 years.

However, almost all of these titles still do not include disabled actors.

This is the conclusion reached by a new study published Wednesday by Nielsen and the nonprofit RespectAbility that analyzed the portrayal of disabled characters in film and television shows published from 1920 to 2020.

The titles come from a Nielsen database that contains more than 90,000 films and television shows that premiered in the last century. Of these, 3,000 titles were labeled with important topics or content on disabilities.

Movies fared better than television – about 64 percent (1,800) of depictions of disabled characters were in feature films and 16 percent (448) were in regular series. (The remaining representations were included in other categories such as short films, limited series, television films or specials.) The database also found a significant increase in the number of productions with disability topics from 41 in 2000 to 150 in 2020.

According to the report, about one in four adults in the United States has a physical or mental disability.

A survey accompanying the study also found that people with disabilities are slightly more likely to have problems with depictions of disabled characters. Viewers with disabilities were 8 percent more likely than those who were not disabled to describe a television presentation as inaccurate, and 7 percent were more likely to say that disabled characters are not adequately represented on screen.

Lauren Appelbaum, vice president at RespectAbility, said that although the number of disabled characters continues to grow, about 95 percent of those roles are still being played by actors who have no disabilities.

“When disability is part of a character’s story, content too often positions people with disabilities as someone to pity or heal, rather than portraying disabled people as full members of our society,” she said in a statement.

Several films with disabled characters made headlines with their casting last year: “Sound of Metal”, which tells the story of a drummer (Riz Ahmed) who loses his hearing, has been criticized for casting Paul Raci, a hearing actor who is a child of a deaf adult as a deaf mentor to Ahmed’s character. (Raci said he was comfortable with the casting because his character lost his hearing in the Vietnam War and was not deaf from birth.) CBS’s adaptation of Stephen King’s novel “The Stand” also opposed casting a hearing actor, Henry Zaga, as Nick Andros, a character who is deaf and signed throughout the series.

Last fall, “The Witches,” the Warner Bros. adaptation of the Roald Dahl story, starring Anne Hathaway as the witch with disfigured hands, was criticized for its split-hand resemblance or ectrodactyly, leading to the debate over the portrayal a disability flared up again as evil.

But there were also positive representations, such as Pixar’s “Luca”, which shows a character who was born without an arm and who takes the rare step of depicting a character with different limbs without making it a defining characteristic.

The report, coordinated to mark the 31st anniversary of the Americans With Disabilities Act, is the first in a three-part series by Nielsen and RespectAbility that also analyzes representations of disability in advertising and the media perception of viewers with disabilities. These reports will be published in August.

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Entertainment

Black Dance Tales: By the Artists, for the Folks

She not only hopes to keep the archive on YouTube, but hopes to find a black-run institution to put it in an official capacity. She also dreams of the next chapter of the show (still in the planning phase): a personal version in which the guests of the online series pull together on stage.

“Stop talking,” she said. “Let’s dance! We miss it.”

Curator, performer, dance historian and author Warren – known to many as Mama Charmaine – began imagining Black Dance Stories in the early days of the pandemic, when so many in the dance world were stuck at home without work, breaking routine and social circles as usual. The murder of George Floyd, she said, increased her desire to bring black dance artists together to share their stories.

“When George Floyd was murdered, I was so empty,” she said. “My heart was hurt. And then I felt even more the urge to do something for our community. “As exhausting as this moment was, she added:” I also wanted to find some kind of ointment, and this ointment is community. “

The clear but open structure of the show enables both solo storytelling and intimate dialogues. Most episodes couple two guests, each invited to speak for 20 minutes to tell a story; in between they overlap in conversation. Perhaps they already know each other well or, as with Battle and Pittman, are just getting to know each other. The pairings, Warren said, were based primarily on when guests were available, which resulted in some surprising games.

“Introducing people is so much part of the mind,” said Battle, who has known Warren for over a decade, “that notion, ‘Oh, you two need to know each other’ and then step back to allow room for whatever comes out of it . “

“It only works because of her,” said Pittman, reflecting on the uncertain moments when guests start talking. “She has an incredibly supportive way of being that lends itself so well to a show like this. It is driven by their enthusiasm for people. “

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Entertainment

She Was Deeply Moved by Refugees’ Tales. So She Advised Them in Music.

Diana Jones is known as a singer-songwriter of uncommon empathy, an astute observer of the human condition whose heart goes out to those who suffer and are oppressed.

Since her 1997 debut, Jones has crafted indelible narratives from the point of view of, among others, a battered woman who contemplates turning a gun on her abuser and of a coal miner trapped underground while writing what would prove to be his last letter to his wife.

Released overseas last year, her latest project, “Song to a Refugee” (due Friday), lends compassion to the struggles of immigrants fleeing terror and persecution in their homelands.

Produced with David Mansfield, whose uncluttered Neo-Appalachian arrangements deepen the pathos of her lyrics and vocals, Jones’s record is an inadvertent concept album. It evolved rapidly, after a bout of writer’s block, during a flurry of songwriting triggered by the horrors she witnessed in news stories from the United States border with Mexico and beyond.

“I was trying to make sense of what was happening, first of all for myself,” Jones, 55, explained. She was speaking by phone from her home in Manhattan’s West Village, describing her response to daily accounts of the treatment of immigrants, most of them people of color.

“At the same time, I felt this responsibility to report on what was happening,” she added. “I wanted to boil things down to one small voice because the more personal something is, the harder it is to look away.”

Jones, who was adopted at birth and raised on Long Island, N.Y., comes by her empathy naturally. “I was always searching for something, a face or a home, anything to connect with,” she said of her early pursuit of her family of origin. “I was also without a home when I was 15 years old. I never lost sight of what it means to have food to eat and a roof over my head. I have gratitude for physical safety every day.”

Her latest project received unexpected early encouragement from someone with a very different background: the actress Emma Thompson. The two women met, coincidentally, in Tompkins Square Park in the East Village, where they struck up a conversation about their mutual commitment to human rights. Shortly afterward, Jones wrote “I Wait for You,” a song about a mother from Sudan who seeks asylum in England, hoping to be reunited with her children eventually.

Thompson had served on the board of the Helen Bamber Foundation, a British organization originally established to care for Holocaust survivors that now serves victims of human trafficking and other atrocities.

“It’s the people to whom we owe nothing, as Helen Bamber said, whose treatment reveals our humanity, our spirit, the quality of our social fabric,” Thompson wrote in an email. “I have an adopted son, a refugee from Rwanda, and what is most important to say about him is that his joining the family made us all immeasurably richer in every way.”

The folk singer and activist Peggy Seeger, who appears on the album, said the power of Jones’s album is in its ability to paint vivid portraits. “It’s so easy to discount, when you see so many refugees, the individual story — and these are individual stories,” she said of the 13 songs on the album. “Diana’s record is a relentless hammering home of how we ignore a huge body of people who are living through the results of human cruelty and insanity.”

Backed by Mansfield on mandolin and fiddle, the song “Where We Are” is narrated by the older of two brothers who were taken from their parents and detained at the border of the United States and Mexico: “My brother is a baby, he doesn’t understand at all/Freedom, there’s freedom outside the chain-link wall.”

“We Believe You,” the album’s centerpiece, was inspired by congressional testimony from Representative Alexandria Ocasio-Cortez, Democrat of New York, detailing the dehumanizing conditions she observed at the border.

I believe your eyes are tired of crying
and all the reasons you said you came here for
I believe you lost your mother and your father
and there ain’t no sleeping on a concrete floor

Jones intones this lament in an unadorned alto, her words cradled by the tender filigrees of Richard Thompson’s electric guitar. Steve Earle, Thompson and Seeger take turns singing the stanzas that follow, only to return to bear witness alongside Jones on the song’s final verse and chorus.

As Jones explained, “It’s important that we have people in our lives who believe us, especially for traumatized people — people who, in this case, are being demonized or ‘othered’ for wanting a safe haven and, eventually, a home.”

Written from the underside of history, “Song to a Refugee” finds Jones steadfastly siding with the oppressed, much in the spirit of Woody Guthrie’s “Dust Bowl Ballads.” One of the most powerful things about the record is how, on tracks like “I Wait for You” and “Mama Hold Your Baby,” the voices of migrant women are centered. Talking about her protagonist in the song “Ask a Woman,” Jones asks, “What must it be like for a mother to have to pick up her baby and start walking to another border, through deserts and with no safety at all?”

“Being a refugee,” Thompson wrote, “simply underlines and exacerbates the areas where all women are already challenged — not being heard, not being educated, not being paid, not having power.”

Jones wrote and recorded the material for “Song to a Refugee” when President Donald Trump was in office. But the nightmarish realities the album evokes speak as poignantly today.

“This is such a big problem that it has to be dealt with in small ways,” Seeger said, referring to the global migration crisis. “But the small ways are not small. This is not a small album.”

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Entertainment

Lena Waithe on Them and Letting Black Artists Inform Tales

Image source: Getty / Aaron J. Thornton
Lena Waithe sets out to redefine what luxury means to the entertainment industry thanks to a recent Haagen-Dazs campaign entitled “That’s Dazs”. As part of the campaign, Häagen-Dazs donated $ 100,000 to the Hillman Grad Foundation’s Mentorship Lab from Waithe as part of a larger three-year brand loyalty of $ 1.5 million to underrepresented creators and flavor makers. The 10-month program provides “Opportunities for Marginalized Storytellers to Network, Grow, and Accelerate Their Careers in Television and Film” and consists of three separate titles: Writing on TV, Screening, and Leadership Development. In addition to providing access to the Hillman Grad Network of industry professionals, the program also provides the opportunity to shadow a writers’ room and a monthly speaker series with industry experts. “I think it’s a luxury to work in this industry, but I don’t think we can treat it as such. We have to make it more accessible to everyone,” Waithe told POPSUGAR. “People think that it is only for a select few to be in business, to work and to be successful. We try to say, ‘No, it is for everyone.'”

That doesn’t mean changing the narrative is easy, as the industry often requires people to work in jobs that they aren’t paid to do. “Not everyone can afford to do this. We’re trying to make it happen so they can come and work and learn,” she added. “You don’t have to be stressed about how to pay your bills or how to pay for classes.” It’s just gotten a lot easier thanks to Häagen-Dazs. “It’s about literally and figuratively really investing in the community. With the money they have given us, we can help pay for teachers and resources they may need and whatever else they may need shows up, “she continued. “Because the truth is, it’s the money part that challenges people because they say, ‘I don’t have the money to move. I don’t have the ability to intern and keep my lights on.’ “

“People think that only a select few are able to be in business, work, and be successful.”

The Mentorship Lab came about after Waithe and film producer Rishi Rajani each ran programs that left something to be desired in terms of skills and takeaways. “Because we work in the industry every day, we learn the things we learn on the fly with the next class,” she explained. “There are things we can’t teach because this industry changes for every new generation. I find it exciting that we learn from the mentees because they tell us, ‘Hey, we’re really stressed out on social media.’ And for me and Rishi, because we’ve lived with it for so long, we say, “Yeah, it just comes with it.” But for them, they freaked out because they check their social media every day and drag people for their work and So we try to tell them, “Don’t be afraid of it. It’s okay. It’s okay It’s a difficult time in our society. But even that is something I didn’t think of when I entered it. So we’re trying to tell them,” Don’t be afraid of it Industry came.

Image source: Shayan Asgharnia
Between the possibilities with the Mentorship Lab and the upcoming Amazon Prime Video series You: BundWaithe has a lot going for it. “We have a couple of mini-scrolls that are going to open up, especially on Amazon, for these writers to sit in the room,” she said. “Obviously we have You: Bund Coming April 9th, which the streets are already talking about, produced and written by Little Marvin. And then The chi come back. We now have a release date, May 23rd, for the fourth season and then Twenties will start filming in May. So we have a few other things that we cook and look forward to. “

With the mentees, she would like to gain practical experience with projects in which she is involved. “We’re going to have them audition and see if there is room for an employee on one of these new shows. They really have full access to everything we do,” she added. “And then the writers in the lab will be finishing scripts very soon too, so the actors will come and be the readers of those scripts. They will get to know each other, they will learn from each other.” Voices and what they’re good at and things like that. It’s just going to be a really exciting time to build these people, grow and encourage them to be creative and do whatever comes to their minds and not suffocate them whatsoever. “

“That doesn’t mean that black people can’t tell stories about horror through the black lens just because they did it first.”

Waithe speaks of creative minds and is aware of the comparisons between Little Marvins they and Jordan Peeles Get out. “It’s just so funny because Jordan Peele obviously opened a huge door, but that doesn’t mean that as a black person, you can’t tell stories about horror through the black lens just because he did it first.”

She continued, “But I went to a showing of Get out and we were all obviously blown away by the movie. And then Jordan said to us: “Do you know what is interesting? I wrote this film before Obama even took office. ‘So when something comes out, it can often take years to start. “There was actually no plan when it came to the timing of theyPublication. “It was just the right timing,” she said. “It was about when it was finished, it was about when it was finished. This production was on COVID like many other productions, so there was a little delay. So when something comes out it often has very little to do with the subject But I definitely think our society goes through cycles. “

NEWARK, NJ - AUGUST 26: Lena Waithe visits Black Girls Rock!  2018 red carpet at NJPAC on August 26, 2018 in Newark, New Jersey.  (Photo by Paras Griffin / Getty Images for BET)Image source: Getty / Paras Griffin
For Waithe, it is important to give an artist the creative license so that their work can stand the test of time. “If the work stands the test of time and says something about our society that wasn’t really said that way before, I think it’s valid and important,” said Waithe. “I just don’t believe in suffocating artists. We can never win if we do that. When we started telling artists what they can and can’t do, we are doing ourselves a disservice. Because the truth is, white.” Male Artists Get Chances All The Time Nobody tells a white guy, “Hey, don’t do this,” or maybe we are, but the truth is, black artists deserve to be free to tell the story they want to tell. At least we deserve it. “

Your statements are particularly true when it comes to the Twitter comment that took place on the trailer for they was published first. Immediately people assumed it was being tried Lovecraft Land or Get outIn reality, it is a far cry from either. “I can’t even explain to people what they’re going to see. Can you? It’s like Little Marvin’s brain is different from what I’ve ever experienced,” she revealed. (She’s right. After seeing the screeners for theyI still haven’t found words to describe what’s going on. “Even the pilot. I said, ‘Who are you? Where are you from?’ And that’s his first. I’ll go with him too. I’ve been there trying to hold his hand and say, “Hey, how are you? Get ready. Gird your loins. “And he just says,” Look, I’m half Indian, half black, gay man. I’ve gotten every name and hatred you can think of, “from people who don’t look like him and from people who do.”

they deals with a number of difficult issues including racism, death, mental illness and murder. With the rise in media-centric black trauma, why did Little Marvin feel the need to tell this particular story? “I hope you can understand why he did that or why he felt the need to tell this story. I don’t think he’s in any way trying to take advantage of anything or anything,” Waithe shared. “It’s really an artistic expression of what he’s been thinking about and what he’s thinking. And I think he has the right to be. These are the times that we are in and that we have to accept. I know this work is going to be last and that’s the most important thing. “

“Black artists deserve to be free to tell any story they want to tell. At least we deserve that.”

What Waithe would like to take away from the audience they, of which she is an executive producer, it’s complicated. “People ask, ‘What did you want people to take away from work?’ and I always say, “Whatever you make it do,” she announced. “Because if people come up to it and want to say, ‘I want to be angry about it,’ they will. If people want to come and say, ‘I want to be open and just see this as a beautiful piece of art,’ it will be. It just depends. ”

It remains to be seen what the audience thinks of they when it premieres on April 9th. “In ten years and in ten years and in ten years we will be living in a completely different society. That’s just the way it is,” she argued. “There are things that will be the same and there are things that will change. The audience evolves and changes, but the work is there. Therefore, all of the works that we revisit and that we carry on in life watch them classic because we keep them alive. “The audience isn’t the only thing that evolves and changes, everything goes back to the creators. For Waithe, Little Marvin, and the Hillman Grad Mentorship Lab mentees, the hope is that the work will be something people won’t forget. “It’s the job that people want to go back and visit again,” she continued. “This is the kind of job I love because I know I always go back.”

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Health

Studying to Take heed to Sufferers’ Tales

The pandemic has been a time of painful social isolation for many. Few places can be as isolating as hospitals, where patients are surrounded by strangers, subjected to invasive tests, and hooked up to a series of beep and gurgle machines.

How can the experience of receiving medical care be made more welcoming? Some say that having a sympathetic ear can go a long way in healing patients who are under the stress of hospitalization.

“It’s even more important now, when we can’t always see or touch patients’ faces, to really hear their stories,” said Dr. Antoinette Rose, an emergency doctor in Mountain View, California who now works with many patients sick with Covid.

“This pandemic has forced many caregivers to immerse themselves in the human stories that are playing out. They have no choice. They become “family” at the bedside, “said Dr. Andre Lijoi, medical director at York Hospital in Pennsylvania. Doctors, nurses, and others who assist with patient care “need time to slow down, take a breath, and listen”.

Both doctors find their inspiration in narrative medicine, a discipline that guides doctors in the art of listening deeply to those who come to them for help. Narrative medicine is taught in some form in approximately 80 percent of medical schools in the United States today. Students are trained in “sensitive interviewing skills” and the art of “radical listening” to improve the interaction between doctors and their patients.

“As doctors, we have to ask those who come to us, ‘Tell me about yourself,'” said Dr. Rita Charon, who founded Columbia University’s pioneering narrative medicine program in 2000. “We have fallen out of this habit because we think we know the questions we need to ask. We have a checklist of symptom questions. But there is an actual person in front of us who is not just a collection of symptoms.”

Columbia currently offers online training for medical students like Fletcher Bell, who says the course is helping to change the way he sees his future role as a healer. As part of his training as a storyteller, Mr. Bell stayed in virtual contact with a woman who was being treated for ovarian cancer. He described the experience of sharing as both heartbreaking and beautiful.

“It can be therapeutic just to listen to people’s stories,” noted Bell. “If there is fluid in the lungs, drain it. If there is a story in the heart, it is important to bring it out as well. It is also a medical intervention that is not easily quantified. “

This more personalized approach to medical care is not a new art. In the not too distant past, general practitioners often treated several generations of the same family and knew a lot about their lives. But as medicine became increasingly institutionalized it became faster and more impersonal, said Dr. Charon.

The typical doctor visit now takes 13 to 16 minutes, which is usually all insurance companies pay for. A 2018 study published in the Journal of General Internal Medicine found that the majority of doctors at the prestigious Mayo Clinic didn’t even ask people what the purpose of their visit was, and often interrupted patients talking about themselves.

Updated

Apr. 26, 2021, 1:26 p.m. ET

But this fast food approach to medicine is sacrificing something essential, says Dr. Deepu Gowda, assistant dean of medical education at Kaiser-Permanente School of Medicine in Pasadena, California, led by Dr. Charon was trained in Columbia.

Dr. Gowda recalls an elderly patient he saw during his stay who suffered from severe arthritis and whom he found angry and frustrated. He came to fear her office visits. Then he began to ask the woman questions, listening with interest as her personal story unfolded. He was so intrigued by her life story that he asked her permission to photograph her outside the hospital, which she granted.

Dr. Gowda was particularly impressed by a picture of his patient holding on to the railing of her walk-in apartment, stick in hand. “This picture represented their daily struggles for me,” he said. “I gave her a copy. It was a physical representation of the fact that I cared about who she was as a person. Her pain did not subside, but there was an ease and a laugh in those later visits that weren’t there before. There was some kind of healing that took place in this simple human appreciation. “

While few working doctors have the free time to photograph their patients outside of the clinic or delve deep into their life stories, “people pick it up” when the doctor shows genuine interest in them, said Dr. Gowda. You will trust such a doctor more and be motivated to follow their directions and return for follow-up visits, he said.

Some hospitals have started conducting preliminary interviews with patients before clinical work begins in order to get to know them better.

Thor Familler, a family therapist, started the My Life, My Story program in 2013 at the William S. Middleton Memorial Veterans Hospital in Madison, Wisconsin. Professional writers are hired to interview veterans – via telephone and videoconferencing since the pandemic outbreak – and compose a brief bio that is added to their medical record and read by their attending physician.

“My goal was to give veterinarians an opportunity to be heard in a large bureaucratic system in which they do not always feel heard,” said Ringler.

The program has expanded to 60 VA hospitals, including Boston, where over 800 veteran stories have been compiled over the past three years. Jay Barrett, nurse manager at VA Boston Healthcare System, said these biographies often provide important information that can serve as a guide to treatment.

“Unless they have access to the patient’s history,” Ms. Barrett said, “healthcare providers do not understand that this is a mother who looks after six children or who does not have the funds to pay for medication. ” or this is a veteran with severe trauma that needs to be addressed before even discussing how to deal with the pain. “

Dr. Lewis Mehl-Madrona, a family doctor who teaches at the University of New England in Biddeford, Maine, has examined veterans undergoing pain management. Those asked to share about their lives had less chronic pain and rated their relationship with their doctor higher than those who hadn’t. The doctors who requested the stories also reported greater job satisfaction and less emotional burnout, which has become a particularly worrying problem during the Covid pandemic.

The demands on the time of the healthcare workers have never been so high. However, proponents of narrative medicine say it takes only a few moments to establish an authentic human connection, even when the communication is online, as is often the case today. Dr. Mehl-Madrona argues that remote video conferencing platforms like Zoom can make it even easier to keep tabs on people at risk and solicit their stories.

Derek McCracken, a professor at Columbia University who helped develop training protocols for the use of storytelling in telemedicine, agrees. “Telehealth technology can be a bridge,” he said, “because it is a balance that forces both parties to slow down the conversation, be vulnerable, and listen carefully.”

The critical point for Dr. Flour madrona is that people asked to speak about themselves – whether in person or on screen – “don’t just throw themselves in to the doctor for repairs. They are actively involved in their own healing. “

“Doctors can be replaced by computers or nurses if they feel their only job is just to prescribe medication,” he added. “If we are to avoid the fate of the dodo bird, we need to establish dynamic relationships with patients and place symptoms in the context of people’s lives.”