Vivian Maier, Chicago Street Photographer

From Chicago Tonight, with Phil Ponce, on WTTW Channel 11

Posted by John Maloof,

Cultural Connection: Vivian Maier
The amazing story of Vivian Maier, a Chicago nanny who took more than 100,000 photos during her lifetime but never showed them to anyone. Now that she’s gone and her photos have been discovered, some say she may rank among the top street photographers of the 20th century. Jay Shefsky brings us tonight’s “Cultural Connection.”
More Vivian Maier photos and information
The show at the Chicago Cultural Center, Jan. 7 – April 3

The link to the Chicago Tonight clip is also here. . .


Uncle Sam’s House of Horrors: Richard Neville in Counterpunch

[This story is bad enough.  Click this link to see the film, on line in its entirety.  In the aftermath of the Vietnam war, Phillip Knightley reviewed the history of modern war and concluded that truth was The First Casualty, also the title of his classic book. ]

January 5, 2011 Counterpunch

Smashing Plato’s Cave

Unlocking Uncle Sam’s House of Horrors


The secrecy-busting by Wiki-leakers may take years to play out in the corridors of power, but there are signs on the ground that citizens are finally rubbing the sleep from their eyes. It’s an Aha moment: “They’ve been lying to us all this time”. And so they have; law-breaking with impunity, instigating  wars, abetting torture, renditions, secret jails; destroying documents, conspiring to steal DNA from diplomats, slaughtering civilians on several continents, plus much else besides and … weirdly… getting away with it. For how much longer?

Citizens today resemble the chained prisoners in Plato’s cave, mesmerized by the shadowy flickering on the wall, or on our TVs, which we mistake for reality. The images are illusions.  In Plato’s famous parable, a prisoner escapes from the cave and discovers the ‘real

Plato's Cave

world’ in all its heartbreak and glory, which he seeks to reveal to the inmates. The revelation is unwanted and the escapee is branded a lunatic.

This tale can be viewed from today’s perspective, where prisoners of the US military are shackled night and day, brutally beaten, tortured, humiliated, even “disappeared” until they lose all hope of re-entering  a world they once knew. Many prisoners are innocent, and – according to numerous accounts – many of the guards are psychopaths.

In October 2001, when the US invaded Afghanistan, an ill educated Australian searching for adventure, David Hicks, tried to flee. Previously he had enlisted in the Kosovo Liberation Army, then fighting against the Serbs in the Balkans, and allied with NATO. Hicks saw no action. A confused and uneducated but idealistic young man, he later sought to fight on the side of the Kashmiri people but changed his mind.  He had been briefly fascinated by Islam. Hicks was picked up by a Northern Alliance soldier and sold to US operatives for US$5000. As he states in his memoir, Guantanamo, My Journey, the brutal beatings began on day one in Afghanistan and he feared for his life. Like many others traded for cash, he is hooded, shackled, interrogated at gun point, repeatedly kicked, punched in the face, treated to mock executions and sodomized with a “large piece of white plastic” as a US soldier snarls “extra ribbed for your pleasure”.  The sadism is breathtaking – and this is just the beginning.

Hicks was among the first batch detainees to arrive at Guantanamo. Plonked on a lump of cement in a barbed wire cage, he is forbidden to look at his jailers . The only authorized positions are to sit or lie in the middle of the cage staring at a fixed spot in the sky or the concrete. The slightest variation provoked an attack from the Instant Reaction Force, who beat offenders to pulp, often accompanied by dogs.

Everything about Guantanamo is shameful and sick – including the inability of President Obama to wipe it from the face of the Earth. The observations of Hicks on his six years of cruel and unusual punishment are corroborated by numerous sources. Not a single soldier has been held to account, not even the ones who murdered three prisoners by stuffing rags down their throats.

Hicks strongly denies that he had any involvement with al-Qaeda and of course he would, and says he had not even heard of the organization until he was taken to Cuba. However, at a camp in in Afghanistan, he had met Osama Bin Laden which of course begs the question of what sort of camp it was and this understandably excited U.S intelligence. However, does this justify the repugnant behavior that has come to light at Guantanamo Bay and elsewhere? Think seriously about this, and if the answer is yes, then we are not who we claim to be.

When Major General Geoffrey Miller arrived at the facility, torments multiplied. “We were no longer entitled to toilet paper”, writes Hicks, “We were not allowed soap to wash our hands, yet still expected to eat with our fingers”. Inmates suffered prolonged solitary confinement, sleep deprivation, forced medication, forced nudity, pepper sprays, exposure to severe cold and “torture of a sexual nature”. It was Miller who introduced attack dogs, and when he was transferred to Abhu Ghraib, he again put them to work. Among the unforgettable series of porno tableaus created by the prison’s night shift, Miller’s dogs can be seen menacing inmates. (At his retirement ceremony in the Pentagon’s Hall of Heroes in 2006, Miller was honoured by the Vice Chief of Staff of the Army, Gen. Richard Cody.)

After 9/11, Neo McCarthyism took hold, traumatizing the media mainstream and reducing its reporters to war mongering hacks.  In rare moments, when excesses of the US military spilled onto the TV news, such the massacre of children in Afghanistan or the shooting of journalists in Baghdad, an “expert” was corralled to provide “context”.

Thanks to Wikileaks, a range of NGOs, independent  film makers, investigative web sites and a handful of defiantly un-embedded reporters, there is a shift in the wind. In John Pilger’s latest film, The War You Don’t See, you do surprisingly see a range of media heavies apologizing for biased reporting. “I didn’t really do my job properly,” BBC reporter Rageh Omaar admits to Pilger. “I’d hold my hand up and say that one didn’t press the most uncomfortable buttons hard enough.” Omaar describes how British military propaganda successfully manipulated coverage of the fall of Basra, which BBC News reported as having fallen “17 times”. This coverage, he says, was “a giant echo chamber”.

Veteran CBS news anchor Dan Rather tells Pilger “there was a fear in every newsroom in America, a fear of losing your job… the fear of being stuck with some label, unpatriotic or otherwise.” Rather said the war turned reporters into stenographers and that had “journalists questioned the deceptions that led to the Iraq war, instead of amplifying them, the invasion would not have happened”.  This view is reportedly shared by a number of senior journalists interviewed by Pilger.

Australia’s media fell head first into the propaganda trap, excited by Shock and Awe and hosting discussions with Pentagon experts, who claimed precision bombing in Baghdad would reduce civilian casualties.  The crushing of Falluja and other atrocities were scarcely mentioned.

John Pilger, whose film "The War You Don't See" indicts the media for not portraying the real war.

The War You Don’t See was screened in Britain in late December and quickly migrated to YouTube <> and beyond. The response is astonishing. Scales are falling from the eyes of a new generation: I’m speechless, brokenhearted, and appalled at our own complicity… 90% Civilian deaths! …I could have watched another 3 hours more and still want more. … Awesome video, thank you all so much…!! Unfortunately, to stop all this, we have to re-think our entire concept of society, authority and personal responsibility and ability… And so on and so on.

Even those close to the US military have been jolted into re-assessing their mission, as in this confession by Tim King from Oregon’s Salem-News. “On the verge of understanding my own role in promoting the US wars overseas as a former embedded reporter, John Pilger’s new program shoved me right off of the cliff of ignorance, into a painful valley of understanding. I always thought I had a moral ‘out’ because even though I was a Marine, the only thing I ever shot in a war was my television camera. But as it turns out, when I confront this demon; I discover quite clearly that however small in comparison to some reporters, I was part of the problem.

In this age of terror it is time to focus on homegrown terrorists who pose as saviors; the gutless assassins of the CIA and its secret affiliates, flinging Drones at impoverished tribes, killing the good and the bad and the babies, just like in Vietnam.

As noted by anthropologist Maximilian Forte, the real war on terror is “in fact a global counterinsurgency program directed at all of us. We live in a regime of global occupation, where psychological warfare, assaults on human rights, and increasingly dictatorial state powers are directed against citizens, not just foreign “enemy combatants”.

In Plato’s cave the inmates are more at ease with illusions than the truth, much like today. Over the last decade millions have turned a blind eye to the stinking system of deception, torture and wholesale slaughter that has infected the West. Indifferent to treaties, conventions and the rules of war, the US government is a blot on the landscape of the future, a sleazy exterminator who never sleeps, addicted to war; unmoved by the carnage it creates.

The US Government proclaim a passion for freedom, even as they seeks to eliminate the freedom of others, such as Julian Assange, for exposing the inglorious exploits of its military, as it murders bystanders with a volley from a helicopter, followed by a chuckle.

Now  raining down from cyber space are revelations on what’s really been happening, as opposed the fairy tales told on TV. They provide a window of information. So what are we going to do about it?

Richard Neville lives in Australia, the land that formed him. In the Sixties he raised hell in London and published Oz. He can be reached at

There But For Fortune: Democracy Now Interview

January 06, 2011

Phil Ochs: The Life and Legacy of a Legendary American Folk Singer


Phil_ochs The legendary American folk singer Phil Ochs is widely regarded as one of the world’s most influential political musicians. Rising to fame in the 1960s, Ochs used his music to both chronicle and help mobilize the labor rights, civil rights and antiwar movements. A new documentary, Phil Ochs: There But for Fortune, has just been released chronicling Ochs’ life. We speak with Phil Ochs’ brother Michael and Kenneth Bowser, the director of the film, which premiered yesterday in New York City . . . Click here to read more, hear the interview.

Who Killed The Disneyland Dream? by Frank Rich in the New York Times

[The key in this story, I think, is the cultural shift in the last 50 years.  The subtext, explored only superficially, is the economic shift in the last 50 years. The economics of the fifties allowed for an expansive view of what was possible.  The economics of today, bred by the decline of the value of labor power, leads inescapably to the conclusion that people are superfluous.  Under those conditions, how is it possible to have access to a “frontierland” or a “tomorrowland,” even granting that those entities are worth achieving.  There are a number of barely spoken problems with this story, primarily that, except for noting the lack of black faces in Disneyland Dream, Frank Rich nearly ignores the civil rights context in which the trip to Disneyland took place, ignores the conditions of life that made Langston Hughes write “life for me ain’t been no crystal stair.”  That contradictory moment both undermines his argument and confirms it — the Civil Rights movement, an outgrowth both of the post war economic revolution and the post war consciousness that black GIs brought back home with them from the fight against European fascism, could not have developed without the hope to escape the desperate economic and political conditions that African Americans found themselves in.

I don’t share Rich’s admiration for Sorensen or for Holbrooke.  Both are enmeshed in the reprehensible imperial designs of post war America. One can quibble with a bit of Rich’s understanding of history too.  He alludes to the bathrooms in fantasyland, marked “prince” and “princess.”  From this he concludes that America of the fifties guaranteed people the dream of becoming royalty.  This of course flies in the face of the constitution itself, which denies royalty any place in America.  But then again, how can one quibble with the de facto royalty that made up the corporate capitalist class then, even more now, and the imperial reach of the government of, for and by the corporations?

Barry Blitt

One can quibble some about his ending as well.  The important thing is to recognize the direction of the shift that is taking place.  Too many of us still believe in the possibility of becoming Bill Gates.  That is one reason why polls showed the numbers supporting the tax cuts for the wealthy.  Surely a good number of folks saw the inevitable “compromise” on the horizon and opted for tax cuts for all versus no tax cuts at all.  But the numbers are diminishing, the ground is being cut out from the center and indeed the center cannot hold. This is not a question about the excesses of the financial markets and their greedy manipulators.  This is a crisis in the system of capitalism itself.

In 1957 I lived in Connecticut, like Barstow, the maker of Disneyland Dream.  I didn’t enter the contest his family did, did not praise the magic of “Scotch Tape,” did not get a free trip to Disneyland.  Instead, my father took an unpaid vacation from his job and paid for 3 tickets on one of those TWA planes with a refueling stop in St Louis to get us to visit my sister who lived in Buena Park, California, a stone’s throw from Anaheim and Disneyland itself.  I still remember the “prince” and “princess” bathrooms, which my family saw with a kind of amusement more than aspiration.  The ride I remember today more than any other is the mad tea party ride, an Alice in Wonderland metaphor, cups swirling so rapidly the centrifugal force drove me against the side of the cup, my head hanging over the side, unable to bring myself in until the ride stopped.  Capitalism’s had us on a whirl like that for the last 30 years, through dem0cratic and republican administrations.  The ride is coming to an end.  What replaces that ride depends on the riders;  either the riders replace the corporate control with a cooperative society, or those controlling the switches will find a worse game in which we may be allowed to be pawns — Lew Rosenbaum]

Op-Ed Columnist

Who Killed the Disneyland Dream?

Published: December 25, 2010 in the New York Times

OF the many notable Americans we lost in 2010, three leap out as paragons of a certain optimistic American spirit that we also seemed to lose this year. Two you know: Theodore Sorensen, the speechwriter present at the creation of J.F.K.’s clarion call to “ask what you can do for your country,” and Richard Holbrooke, the diplomat who brought peace to the killing fields of Bosnia in the 1990s. Holbrooke, who was my friend, came of age in the Kennedy years and exemplified its can-do idealism. He gave his life to the proposition that there was nothing an American couldn’t accomplish if he marshaled his energy and talents. His premature death — while heroically bearing the crushing burdens of Afghanistan and Pakistan — is tragic in more ways than many Americans yet realize.

Damon Winter/The New York Times

Frank Rich

But a third representative American optimist who died this year, at age 91, is a Connecticut man who was not a player in great events and whom I’d never heard of until I read his Times obituary: Robbins Barstow, an amateur filmmaker who for decades recorded his family’s doings in home movies of such novelty and quality that one of them, the 30-minute “Disneyland Dream,” was admitted to the National Film Registry of the Library of Congress two years ago. That rare honor elevates Barstow’s filmmaking to a pantheon otherwise restricted mostly to Hollywood classics, from “Citizen Kane” to “Star Wars.”

“Disneyland Dream” was made in the summer of 1956, shortly before the dawn of the Kennedy era. You can watch it on line at or on YouTube. Its narrative is simple. The young Barstow family of Wethersfield, Conn. — Robbins; his wife, Meg; and their three children aged 4 to 11 — enter a nationwide contest to win a free trip to Disneyland, then just a year old. The contest was sponsored by 3M, which asked contestants to submit imaginative encomiums to the wonders of its signature product. Danny, the 4-year-old, comes up with the winning testimonial, emblazoned on poster board: “I like ‘Scotch’ brand cellophane tape because when some things tear then I can just use it.”

Soon enough, the entire neighborhood is cheering the Barstows as they embark on their first visit to the golden land of Anaheim, Calif. As narrated by Robbins Barstow (he added his voiceover soundtrack to the silent Kodachrome film in 1995), every aspect of this pilgrimage is a joy, from the “giant TWA Super Constellation” propeller plane (seating 64) that crosses the country in a single day (with a refueling stop in St. Louis) to the home-made Davy Crockett jackets the family wears en route.

To watch “Disneyland Dream” now as a boomer inevitably sets off pangs of longing for a vanished childhood fantasyland: not just Walt Disney’s then-novel theme park but all the sunny idylls of 1950s pop culture. As it happens, Disney’s Davy Crockett, the actor Fess Parker, also died this year. So did Barbara Billingsley, matriarch of the sitcom “Leave It to Beaver,” whose fictional family, the Cleavers, first appeared in 1957 and could have lived next door to the Barstows. But the real power of this film is more subtle and pertinent than nostalgia.

Read the rest of this story on the New York Times web site.

Katrina Blues Continues: Just Why Do We Need The Banking Industry?

For some homeowners, disputes with lenders over flood insurance proceeds lead to foreclosure
Rebecca Mowbray, The Times-Picayune
Published: Monday, November 01, 2010, 4:59 PM

New Orleans bluesman and actor Chris Thomas King got a last-minute reprieve Monday evening from Bank of America, which had been set to auction his Uptown home in a foreclosure sale on Thursday.

Ted Jackson, The Times-PicayuneNew Orleans bluesman Chris Thomas King is about to lose his home to foreclosure.

Ted Jackson, The Times-PicayuneNew Orleans bluesman Chris Thomas King is about to lose his home to foreclosure.

King, a Grammy Award winner best known for his work in the movies O Brother Where Art Thou? and Ray, has been stuck in a dispute with the bank over his flood insurance proceeds from Hurricane Katrina. King says he hasn’t been able to get his lender to release enough of his insurance money to finish rebuilding the Willow Street home he bought in 1998, and can’t carry two mortgages.

A spokeswoman for Bank of America, which took over servicing King’s loan when it bought Countrywide Financial Corp. in 2008, sent an email Monday evening saying that the auction had been postponed. “The foreclosure has been cancelled for this week. We are awaiting the inspection results and, if appropriate, (will) release funds accordingly,” Bank of America Spokeswoman Jumana Bauwens said in an email.

King had not heard the news that the auction had been postponed, but on Monday evening was on the phone with the bank trying to find out if it would release his money after an inspection on Friday had deemed repairs on the home 92 percent complete.

“It’s some light at the end of the tunnel. I’m happy at last that they’re not going to do the guillotine this Thursday, but it doesn’t mean it won’t happen next month,” said King, who is now living his own tale of the blues.

While many New Orleanians got into cash crunches trying to get their lenders to release flood insurance proceeds as they repaired, King’s battle has gone on long enough that his Katrina bureaucratic nightmare has morphed into today’s foreclosure crisis. He has had trouble getting the department that is holding his insurance proceeds to communicate with the department that handles loan delinquencies, and says his situation is crazy because there’s more than enough insurance money to pay the portion of the loan that is in arrears, or to allow him to complete his house, move home and resume paying the mortgage. In short, there’s no reason for him to lose his home.

The Federal Emergency Management Agency, which runs the National Flood Insurance Program, said that flood checks are required to be made out to both the homeowner and the lender when there’s a mortgage on the property, but there are no rules on governing how or when the lender must release the money.

Laura Bartlett, a staff attorney specializing in foreclosures at Southeast Louisiana Legal Services Inc., said that King’s situation is not uncommon. Two or three foreclosure cases out of the 60 to 70 she handles at any given time hinge upon the disposition of insurance proceeds from Katrina, she said, down from six or seven cases at a time a few years ago.

Different mortgages have different rules about how lenders are supposed to handle insurance proceeds, Bartlett said, and often, the lender doesn’t even know. But the incentives are strong for mortgage servicing companies like Bank of America to play hardball. Banks make money on fees from initiating foreclosure proceedings even if it might be a better deal for the homeowner and the investor who ultimately owns the loan to avoid foreclosure, Bartlett said. And if a foreclosure like King’s actually goes to auction on Thursday, the bank will get to keep the insurance proceeds.

King’s experience of having trouble getting the insurance escrow and foreclosure departments to communicate is also common, because the banks are completely overwhelmed in dealing with bad loans, Bartlett said. She advises anybody in a dispute with their mortgage lender to communicate in writing and make their wishes clear about what they would like to happen. If it gets down to the wire, filing bankruptcy could be the best option, because the filing will stop the auction of the property and bring in a third party who can help sort through the issues. “This has been a constant issue,” she said.


After evacuating to Houston for Katrina, King bought a home in Prairieville so his family could remain in Louisiana while they repaired their soggy New Orleans bungalow. By spring 2006, his flood insurance policy had come through with $166,000, an amount King considered adequate to repair his home.

That summer, he signed up a contractor to rebuild and elevate the home for $197,000, and King, whose real name is Durwood C. Thomas, said he was prepared to go out of pocket for the difference until an elevation grant came through. Bank of America’s predecessor, Countrywide, approved the contractor and gave King about $65,000 of his flood money for the first installment of work. But as the contractor moved into the middle of the job, King says the lender wouldn’t release the next installment of money.

The contractor got angry and sued King for not following through on the deal. Although King says he eventually prevailed in court, he spent about $35,000 of his own money defending himself and didn’t recuperate his losses.

In August 2007, Countrywide inspected the house and deemed it 70 percent complete. That same month, King hired another contractor to do $24,500 of work on the house. Countrywide approved the contract, and told King to pay the 10 percent deposit for the job. King wrote the check and expected to his lender to fork over the rest, but Countrywide again left him holding the bag. Not wanting to risk getting sued again by his contractor, King canceled the deal and lost his $2,450 deposit.

Frustrated that the situation was going nowhere, King sued Countrywide to try to force the lender to release his flood money. Countrywide responded by canceling the forbearance that it had granted King on his mortgage after Hurricane Katrina, and won the right to initiate foreclosure proceedings, even though it didn’t actually do so until recently.

Unable to carry mortgages in both Prairieville and New Orleans and angry at his lender, King never resumed paying the mortgage. He said it didn’t make sense to sink more money into an asset of declining value, especially in tough economic times, so the mortgage has been unpaid since the hurricane.

If he could repair the home, King said he and his family could move back in and sell the home in Prairieville, or they could refinance the house on Willow Street to get a more workable deal. But with the home in disrepair, refinancing or buying out the bank loan isn’t an option. At some point, he offered Bank of America a short sale, but he was $7,000 shy of what he needed, so it didn’t work. “As long as the house is damaged, I have no options,” he said.

In late August, he had a breakthrough. King figured out that while Bank of America serviced his loan, Fannie Mae actually owned the loan. He started contacting Fannie Mae, and found a sympathetic woman in the research department who checked out his situation and seemed shocked at his tale. On Oct. 15, Bank of America released $10,400 for repairs, the first money he had received from that institution.

King signed a two-month contract with yet another builder for $31,000 to complete repairs, and says he can be home by Christmas in a financially viable property if Bank of America releases the remainder of his money. But there’s one problem: even as the insurance department is writing him checks, the foreclosure department had already filed the paperwork for the Nov. 4 auction.

If the bank forecloses before the work is complete, King will lose his home and will probably will get sued by his latest contractor. “I have no confidence. I just have to keep struggling,” he said.

King, who wrote about the strength involved in rebuilding of New Orleans in his 2006 album Rise and performed benefit concerts to try to help others, is depressed that his home is the only blighted one on his Uptown block, and is dumbfounded that he’s at risk of losinghis home. He said he thought he was doing the right thing by purchasing flood insurance and by standing up to the bank when it gave him a hard time.

“I hate to be another bluesman that got beat,” he said. “It’s an injustice. If you have an insurance policy and you can’t collect it, then what the hell are we doing?”

Don’t Step on Superman’s Cape!

Thanks to Daniel Wolff for sending this along.  He notes the huge publicity push  for the just released movie, “Waiting for Superman.” It’s not surprising that the same folks who made Al Gore’s “Inconvenient Truth” ignore inconvenient truths about education while pushing  charter schools, attacking teacher unions, encouraging privatization while supporting closing more ‘public’ schools.

This review comes from a New York education blog (Independent voices of New York City public school parents).

Waiting For Superman is in theatres now

Would Superman really stand in the way of improving the system as a whole?

See the NY magazine article by John Heilemann about “Waiting for Superman,” the new documentary by Davis Guggenheim and the latest example of charter school porn.
The article retreads the well-worn points made by countless other articles in the mainstream media, predictably focusing on the teacher unions as the scapegoats, adds in the tired nostrum of how “adults” are being favored over the kids, ignores all the factors that go into low-performance in our urban schools, and drools all over Geoffrey Canada.
But it also contains a startling quotation from Joel Klein, about the students who remain in the regular public schools:

“It’s gonna grab people much deeper than An Inconvenient Truth, because watching ice caps melt doesn’t have the human quality of watching these kids being denied something you know will change their lives,” Klein says. “It grabs at you. It should grab at you. Those kids are dying.”

It’s amazing to me that Joel Klein says the kids in the schools that he is responsible for running are “dying.” If he feels that way he should resign immediately and let someone else be in charge — preferably an educator who knows something about how to improve schools.

Geoffrey Canada’s charter schools have class sizes of twenty or fewer in all grades, and yet the administration refuses to reduce class size to similar levels.

The Bloomberg/Klein administration has consistently refused to provide class sizes comparable to those in Canada’s charters, despite hundreds of millions in state funds supposed to be used for that purpose. Essentially, by Klein’s own malfeasance, he is creating a system in which many charters will outperform the schools he is responsible for improving.

Canada also claims that teacher unions have not added anything to the quality of education, yet without unions, class sizes in NYC would be essentially uncontrollable — rising to 30 or more in all grades. The only thing that is keeping them from exploding are the union contractual limits.

Charter schools enroll far fewer special education, immigrant, poor and homeless kids than the districts in which they are located — another reason for their relative success. Teacher attrition rates at charter schools tend to be sky high, because of lousy working conditions. This is not a model we want to replicate, as experience matters hugely in terms of teacher effectiveness. Student attrition also tends to be very high. I doubt that the Guggenheim film explores any of these factors.

Altogether this article, like the movie it profiles, is a simplistic and one-sided look at a complicated problem.

Louder Than A Bomb — Poetry Hits the Big Screen in NY & LA

This is louder than a shout out!  This is a SCREAM OUT to all my friends in NY & LA — you MUST NOT miss Louder Than A Bomb, the youth poetry slam documentary from Chicago.  And, “tell whoever you send [this info to] that if they go, we guarantee three things: 1.) they will laugh, 2.) they will cry, and 3.) they will leave the theater thinking the world is a better place than when they walked in.”


“Louder Than a Bomb will be screening in New York City and Los Angeles as part of the 2010 DocuWeeks Theatrical Documentary Showcase, which is designed to qualify films for consideration for the Academy Awards.

The film will have a weeklong run at the IFC Center in Manhattan (July 30-August 5), followed by a weeklong run at the ArcLight Hollywood in Los Angeles (August 6-12),” Kevin Coval writes. “It’s an amazing opportunity, but in order to take advantage of it, we need to pack the house at all 28 screenings.”

Read about Kevin Coval here.

Read more about the film here (and see a trailer too)