Today at 7 p.m., Orion magazine will host a live Web discussion with author David James Duncan, who will be featured in an upcoming episode of Nature, Salmon: Running the Gauntlet, set to air Sunday,  May 1 at 8 p.m. on THIRTEEN.

The discussion will focus on oil companies hauling oil-production equipment on rivers that may damage the fragile ecosystem and vital salmon habitat.

Duncan will be joined by fellow Orion magazine contributor and author Rick Bass.

Register to join the discussion and learn more.

THIRTEEN has your backstage pass to the meet the singer-songwriters you love from the 1970s, with the new documentary, American Masters – Troubadours: Carole King / James Taylor & The Rise of the Singer-Songwriter.

The film chronicles the ‘70s music scene that began with the groundbreaking musical collaboration between Carole King and James Taylor at the famed Troubadour nightclub in LA, and features interviews with music legends like Carole King, James Taylor, Bonnie Raitt, David Crosby, Jackson Browne, Kris Kristofferson, Steve Martin, and others.

See it March 2 at 8 p.m. and March 7 at 10 p.m,, only on THIRTEEN.

Support THIRTEEN and get the film on DVD or the legendary music of Carole King and James Taylor on CD.

Find out more at www.pbs.org/americanmasters, or watch exclusive extras from the film below:

Preview:

Outtake 1: Life at the Troubadour
Cheech & Chong, Bonnie Raitt, former Troubadour staff and others recall night’s spent at the Troubadour.

Outtake 2: Linda Ronstadt and Women in Country Rock
Bonnie Raitt, Jackson Browne, and others discuss women in country music and recognize Linda Ronstadt as a pioneer in the genre.

Outtake 3: Kris Kristofferson and Country Music at the Troubadour

Kris Kristofferson reflects on how the Troubadour launched his career.

Outtakes 4: Steve Martin on the Trains of Santa Monica

Steve Martin discusses the trains that used to run down Santa Monica Boulevard and how he worked them into his act.

Interview with filmmaker Morgan Neville:

Yony Leyser’s first feature documentary William S. Burroughs: A Man Within is screening at film festivals all over Europe right now and coming back to the United States for more dates this spring. The film makes its broadcast debut on THIRTEEN this Tuesday, February 22, 2011 at 10 p.m.

Independent Lens sat down with Yony, the two-time film school dropout to find out how he managed to make such an intimate film about a man he never met, and who died before Yony was old enough to drive.

Interview courtesy of Independent Lens. For more interviews and other Independent Lens film content, visit their blog.

What impact do you hope this film will have?

I hope this film will introduce Burroughs and his contemporaries to a younger generation. It’s important for people to see the confidence he had in breaking away from society’s written and unwritten laws. I would love to see more people critiquing control systems, defying regulations and format, and approaching the world with a truly open mind.

THIRTEEN’s UMOJA! Black History Month programming continues with Searching for Buxton.

The documentary reveals the story of a young African American who searches  for his family history in a small Iowa mining town, which became a center of racial harmony in the 1920s while the rest of the nation was facing segregation.

Inside Thirteen sat down with filmmaker Marc Rosenwasser to discuss this unique, little-known town and its remarkable history.

Watch the full program:

Inside Thirteen: How did you first hear about Buxton?

Marc Rosenwasser: I actually have a different life in Iowa, where I oversee an experimental TV workshop out there. The guy who funds that project had known the story; he’s a history buff, and let me know about it. I’d never heard one word about it, and almost no one I’ve talked to has heard about it – here or in Iowa.

IT: What was it about this town that created such ideal circumstances for race relations? How big a role did coal mining play?

MR: Coal mining is what brought all the folks to the town. It was a combination of black miners, many of whom were from the Charlottesville, Virginia area and European immigrants. So coal was the reason – the prospect of work, extracting coal was the reason most of them went there. What was remarkable, really, about the town is both how integrated it was, which was thoroughly integrated during a period of segregation in the United States, and separately, how well black people lived there at the time. Which is to say, just as well as white people. Not only did they get paid equal wages, but many of them did well enough to buy cars and have other luxury items from the era.

IT: How aware was the rest of the nation of the situation in Buxton at the time?

MR: I think there was some awareness of it, because we came across writings from some African American newspapers that referred to it as “the Athens of the North.” It’s also often referred to as a black utopian town.

IT: Did Buxton ultimately play a role in changing segregation laws?

MR: I don’t think so, because, in fact, what happened after the coal ran out, as the piece shows, is it was really a singular example, just decades ahead of its time. As soon as the coal ran out, and the people of the town had to flee, they had to endure the segregation and second class citizenship that was customary for black people at the time, everywhere they went.

IT: The story of Buxton is surprising in itself, but was there anything you were surprised to learn while making the film?

MR: Really almost everything about the town surprised me, because, it wasn’t known to me at all, I’d never heard of the place. There’s a young man featured in the piece who’s a colleague in Iowa, who is African American. His great grandmother and aunt are featured in the piece; both of them grew up in Buxton in their very early lives. To get to meet with them – they’re 90 and 95, and in incredibly good health, had very sharp recollections – was a surprise and a joy. It’s important to tell the story now, just because in a couple of years, there won’t be any survivors from the town.

IT: What message do you hope the audience will take from this film, particularly as it is being aired during Black History Month?

MR: One of the people at the end of the piece, an Iowa State professor who first helped excavate part of the town in the late 70s – the town has all but vanished in 60 or 70 years – he talks about asking why, if it happened then, it can’t happen today? I think that’s exactly the right question to ask.

I think it’s an example of how there are so many great untold stories; the question is how you find them, and, if you think about public TV, who can fund them. I would hope it would propel people to think about what the possibilities are in terms of untold stories and producing them for the enrichment of the public.

Tonight, as part of our annual UMOJA! Black History Month programming, THIRTEEN will be premiering The Unforgettable Hampton Family, a documentary exploring how Deacon Clark Hampton, a son of slaves, lifted his twelve children out of poverty by making them into successful musicians.

Julie Cohen

Inside Thirteen recently spoke with The Unforgettable Hampton Family’s producer, writer, and director Julie Cohen to discuss the film and the impact the Hampton family had on jazz music.

The Unforgettable Hampton Family airs tonight at 10:30 on THIRTEEN.

Ms. Cohen answered our questions via email.

Inside Thirteen: What first interested you in making a film about the Hampton family?

Julie Cohen: I met Dawn Hampton while I was making another documentary, about the swing dancer Frankie Manning. I saw her dance down the church aisles at Frankie’s memorial service, I went to one of her popular dance seminars, and I heard her jazz whistling. Dawn had so much talent, zest, and joie de vivre that I wanted to learn more about her. When I found out she was from a huge, talented family, the sister of the jazz trombone virtuoso Locksley “Slide” Hampton, I was even more intrigued. Then, when I saw some footage of her older sisters performing their swinging bass and piano duet of “Get Your Kicks on Route 66″ in their 80s and 90s, I was sold.

IT: How big of an impact did the Hamptons have on American music, particularly jazz?

JC: The Hampton siblings – and their kids and even grandkids – have made their mark in many different areas of the jazz world, from traditional big band swing, to more experimental jazz to cabaret singing. Between them, they’ve worked alongside many of the jazz greats spanning eight decades. Not a lot of families can say that!

IT: Are any parallels ever drawn between the Hampton family and more recent groups of family performers (such as the Jacksons)?

JC: Some people have made that comparison. Obviously, both are very large and very musically talented families, but I don’t think there are too many other similarities. The Hamptons grew up in a whole different era, and as talented as they are, most of the brothers and sisters didn’t become particularly rich or famous. And the Hampton kids managed to avoid the pitfalls many musicians fall into.

IT: Did Clark Hampton receive criticism for starting his children in the music business at such an early age?

JC: Yes, the Hampton parents did get some criticism, not so much for having their children perform from a young age, but for taking them out of school to go on the road. But as you’ll see in the film, Clark was very serious about educating his kids. He himself was self-educated, and he taught his kids not only music, but also English, history and math. From what I’ve seen, his book lessons and life lessons stood them in good stead.

IT: What message do you hope viewers will take from the film?

Julie Cohen and Dawn Hampton

JC: As with any documentary, there are different messages viewers could take from this film. I hope it shows the unexpected bonds a love of music can forge. Interviewing Dawn Hampton alongside Freeman Gunter, one of her biggest fans from the gay nightclub scene in Greenwich Village in the 60’s and 70’s was a great reminder of this. Here are two people from completely different worlds: an African American woman who spent her childhood in poverty traveling the carnival circuit in rural America, and a white urban gay man. But somehow, through Dawn’s music, and mutual respect and acceptance, they found a deep connection.

But this film isn’t primarily meant to impart messages. I just hope viewers enjoy the opportunity to spend a little time with an extraordinary family, learn their story, and hear some “burnin’ music,” as Dawn’s grand nephew Darius Hampton puts it.

Filmmaker Jim Bigham sat down with Independent Lens to talk about making For Once in My Life, and how his subjects inspired him to make a film about people with mental and physical challenges that wasn’t condescending but rather expansively joyful.

For Once in My Life premieres tonight at 10 p.m. on THIRTEEN.

Interview courtesy of Independent Lens. For more interviews and other Independent Lens film content, visit their blog.

What impact do you hope this film will have?

With 54 million people living with disabilities in the United States, we can assume that everyone has been touched by disabilities in some way or another. I wanted to see this film get made to tell the world what people with disabilities — or any person, period — can do when given an opportunity to succeed. It’s very apparent to me that the band deserves that. By changing the way people think about disabilities, many things can change in our society. Everyone deserves a chance at fulfilling his or her dreams. Another impact is the power of music revealed as something that everyone should be exposed to and feed off of.

What led you to make this film?

Once being introduced to the band and hearing them play there was no chance of not wanting to make a film. The band members themselves know what it feels like to perform and have an audience get real pleasure from their music. They were the ones who really wanted to share their music with a larger audience, and Javier was extremely proud of their accomplishments both as musicians and as people. It just made sense that if I could become such an instant fan in meeting them that hopefully others would feel something from it. It’s a learning experience that should be shared. I feel that the beauty of documentaries is to expose a subject that may not always be comfortable and change that perception. We didn’t want to be a sympathy film, or to take a particular slant like a public service message. We just wanted the audiences to witness and appreciate for themselves, what can be accomplished when individuals are given the chance. I’ve been honored, humbled, and blown away by the band.

What were some of the challenges you faced in making For Once in My Life?

The most important thing was to make the story entertaining but be truthful to the subjects. We were very intent on using the fly-on-the-wall technique and not try to be manipulative of any situation or character. Gaining trust and letting the band members and their families know that we were working for them and with them was important. We never wanted to feel like we were exploiting anyone to make a point.

How did you gain the trust of the subjects in the film?

Mark and I wanted to reveal them in the most honest light possible. We knew it would take time and we’d have to be patient in order to be allowed to become part of their family and not just passing visitors. The process has been a wonderful experience. Getting to really know each of the various band members and getting to perceive them beyond their obvious struggles. In time we came to learn that their love of music and their need for friendship and independence are the common denominators that they all share, and above all a great attitude.

What would you have liked to include that didn’t make the cut?

Honestly, there are so many characters and interesting back-stories that we would have liked to develop but there wasn’t enough time. For instance, Rodrigo, who you see playing the ukulele in the “Jungle Book” scene and as a percussionist on “Conga”, has a father who is a famous folk musician from Venezuela. Also, Anthony had a scene in the film where we witnessed a counselor’s consultation with he and his mother, discussing his inability to focus and stay awake. He’s often seen sleeping at the keyboards and he happens to be a fantastic break-dancer. It was an emotional scene but with so many stories that could have been included, we had to stay focused.

Tell us about a scene that especially moved or resonated with you.

There’s a scene that was almost cut out of the film because of technical issues. It’s when Godwin’s mother confesses that she was ashamed and embarrassed as a young mom, and had to learn to grow up herself in order to realize the gift that she had been given. It wasn’t until the editing room that I realized the significance of her statement. Later, during the final concert, Godwin’s solo moment is almost a climax in the film for me, a turning point in the story.

What has the audience response been so far? Have the band members seen it, and if so, what did they think?

There’s always fear when first showing your film to an audience and you never know what reactions you’ll get but I’ve been amazed at the strong response of our audiences at the festivals. We’ve only been in four festivals to date and have received five prizes, three of which are audience awards. Mostly I felt gratitude and a humbling feeling from people as they watched and learned about the band members and their families. It was the same feeling I’ve experienced and I was relieved that those feelings were conveyed. The film seemed to make people proactive. Everyone wanted to know how they could help the band and help the film to be seen. Many were grateful for exposing a sometimes uncomfortable subject in a unique way and praised Javier Pena for his work. I’m often surprised that audiences made up of all age groups and backgrounds have gone out of their way to express their love for this film, from young filmmakers and artists to seniors to working class, faith-based groups and more. On more than one occasion grown men have approached me in tears and have expressed that it really struck a chord. That’s been absolutely awesome for me and I feel privileged to have been able to be part of this story. From our positive experiences and a couple rejections from festivals, we’ve learned a lot about finding the audience and, although we may not be the sexiest film out there, we do have a very wide audience and are figuring out how to market to them.

What has happened to the people in the film since shooting wrapped?

All the band members have seen the film with their families, numerous times and they love it. Sam and Patricia have recently gotten married. Godwin has vacationed with his family to China. Terry, David, and Nancy accompanied me to a celebration at the White House with President Obama on the 20th anniversary of the American Disabilities Act. Javier and Christian have been teaching the band the Beatle’s classic, “All You Need is Love.” One of the female sax players, Sarina, just sang her first lead vocal when I was there last, which was really monumental because in the beginning she was so shy. The band is always reaching higher.

The independent film business is tough. What keeps you motivated?

Having the opportunity and freedom to do and say what you want. Making films like this is why I appreciate and enjoy making independent films.

Why did you choose to present your film on public television?

We feel it’s the right audience and an effective way to convey the important message that this film has to offer.

Anything else you’d like us to know?

I would just like to thank the Miami Goodwill, the band members, and their families for allowing us to get such a raw, unaffected perspective into their world. The process has been a wonderful life experience that I am proud to be able to share with other people.

What didn’t you get done when you were making your film?

Well I didn’t make a lot of contributions to my retirement fund but I added a lot of value to my life.

What are your three favorite films?

Chinatown, One Flew Over the Cuckoo’s Nest, and The Chorus (Les Choristes) … I have so many.

What advice do you have for aspiring filmmakers?

Be honest with yourself on why you are making the film, and really know who is your audience and how to best appeal to their attention.

What do recommened as sustenance for making independent film?

A good glass of wine, no particular color, just good.

Since the debut of his national, nightly talk show in 2004, Tavis Smiley has engaged and enlightened audiences with programs featuring politicians, entertainers, athletes, authors, and newsmakers ranging from Sidney Poitier and Carol Burnett to Bill Moyers and President Barack Obama. And now, in 2011, as he embarks on his 20th anniversary in broadcasting, he will continue his award-winning program through a new co-production partnership with WNET.ORG.

THIRTEEN spoke with Smiley to celebrate this exciting new partnership.
Read More …

This past Sunday, pioneering women of television came together for a panel discussion at the 92nd Street Y.

Moderated by Need to Know’s Alison Stewart, the event featured Angie Dickinson, Linda Evans, Stefanie Powers, and Nichelle Nichols.  The actresses discussed their television careers, which are highlighted on  the PBS series, Pioneers of Television.
Read More …

Gail Levin

Inside Thirteen recently sat down with Gail Levin, director of American Masters’ upcoming film, Jeff Bridges: The Dude Abides.

Here, Levin discusses what it was like working with the legendary actor, whose appeal, she points out, spans the generations. An Academy Award winner, Bridges is also an accomplished musician, painter, and photographer. Learn more about his work on his official Web site.

American Masters‘ Jeff Bridges: The Dude Abides premieres January 12 at 8 p.m. on THIRTEEN.

Enter for a chance to win a Jeff Bridges gift pack, including The Big Lebowski 10th Anniversary Edition DVD.

Inside Thirteen: What was Jeff Bridges’ reaction to American Masters’ decision to make a film about him?

Gail Levin: One of the main points in the film is his reticence to take on projects all the time. So, I don’t think this one is really different for him. But, the twofold of it is that he’s always a little hesitant and he’s always a little bit halting, but once he’s in, he’s in. I think that can be said about this. I think that he was not sure what this meant – when you put this kind of a magnifying glass on somebody, it makes them feel a little awkward. But, having said that, I think he also just decided to get out of the way of it and let it be. So, I would say that’s how he approached it and that’s how I approached it as well – to not be in his way about it, but let him realize that this is his story.

IT: Was there anything that you were surprised to learn about him during the making of the film?

GL: I was surprised to learn that what seems to be an easygoing guy is kind of a guy who frets a bit. He appears to be so easy and “dude-ish” in a way, but he’s not that laid back. He’s not uptight, be he’s intense and he thinks about things…it’s not an easy task for him to just give over to it. In the film, Mercedes Ruehl made this statement about how she felt that there was a sort of melancholy about him – then in the next part of the statement she said, she felt he was not a stranger to sadness. And I think there’s something about that that’s true – there’s another side to him. There is a joyfulness and a kidding around, but I think there is also a part of him that is very thoughtful, very pensive, and a bit darker – a bit more complex than you might expect. He’s not a guy you can take at face value at all.

IT: What was the most challenging part of making this film?

GL: Exactly the same things! I didn’t know him at all, and we had a very short window to make the film in. That was both good and bad. I think it would be very hard to take on a film with somebody that you know well. That’s never a good idea. But also, you have to have time to build some sort of trust with someone and have the feeling that they know you’re going to be okay with them and that you feel that they’re going to be okay with you. We had very little time to establish that. The producers on this film – Neil Koenigsberg, Nikki Silver, Orly Wiseman – they’d worked with him for some time trying to do a feature film on a young adult book called The Giver. They know him very well, but I didn’t know him at all. But I think based on him knowing them, he was willing to assume that I was okay for this. Hopefully, that all worked out. Still, he and I didn’t have a relationship. Luckily enough on my end, I’ve watched his films all my life, so I knew his body of work, which was a big plus. But I was not an intimate of his at all, so there was a little bit of that – he had to sort of decide if I was okay, I had to hope he thought I was okay. It’s nervous making to do these things! What’s also good is that I didn’t develop a crush on him. (Laughs)

IT: Bridges not only acts, but also is a musician, artist and accomplished photographer. How much of this is this reflected in the film?

GL: It is. He’s extremely talented, and not just as an actor. I think he himself had hoped that he would be a musician – music is not something that just came with Crazy Heart. He’s played guitar since he was a kid, and loves it. So that was something to learn, because I always just thought – he’s a great actor, and he was able to learn enough guitar to really pull it off in Crazy Heart. I didn’t realize the extent of his love for music and how much he played and how much a part of his life that had always been. So, it’s really his double muse, music and acting. I think what he loves now and what is extremely wonderful about having won an Oscar for Crazy Heart is, he wins the Oscar playing a part of something he always wanted to be, which is a musician. He’s also got a little band now and does some public appearances, and I think that bridging (pardon the pun) of the loves in his life is nice.

In his paintings, he’s really rather Picasso-esque – he’s very free and fluid. It’s beautiful stuff. We devised to do this plexiglass idea in the film, which is from Picasso. I’ve always wanted to duplicate it, and he was the perfect person to do it with; he really got into it, which was fun.

IT: You have directed and produced a number of shows for THIRTEEN, including previous American Masters films on Marilyn Monroe and James Dean. What first drew you to documentary film making and public television?

GL: For me, the arts are just an endless source of intelligence, brilliance, imagination, and originality. How people do what they do is so fascinating to me. I think it’s mysterious; it’s not something people can explain to you. So, if there’s some way to hang around, get some access, and get some ability to watch some of what happens, I think that’s very compelling stuff and we’re lucky if we can see some of that. I think the beauty of documentary work is that it’s a mystery too – you never know where it’s going to lead you. You start out with some notion of it, but it’s very different from a script. A script you write, you shoot against, and you know what the story is going to be. There’s always the element of surprise, but the surprise comes from performance, from something that’s improvised, it comes from someone who sees it inside an already determined framework. In documentary, it’s never determined. It’s never the same, and affords enormous possibility.

IT: Is there anything else about the film you would like viewers to know?

GL: I would love people to know about John Goodman’s interview. In The Big Lebowski, John Goodman was hilarious, but he was a little bit hard to interview – he came in a little guarded. We started talking and all of a sudden, he started to laugh about Lebowski, about the character and about Jeff’s performance – he started to laugh in that way you laugh as a little kid, you start giggling and then you can’t stop. So we started laughing, but we didn’t want it to get picked up on the track…but I also wanted to keep him laughing. It was great!

Another thing I’m sorry didn’t happen was that we missed getting in one of Jeff’s friends since the 4th grade. Jeff has very long friendships. And these are not with movie stars – I’m sure he has those as well, but these are friends that he’s very loyal to, they’re very loyal to him, they still hang out…it’s very cool, and I’m sorry that that didn’t get enough real play in the film. He also has a strong family life, which we didn’t get to show enough of.

One other thing we didn’t get to do enough with is Jeff’s charitable and humanitarian work. He’s been working now with a group called No Kid Hungry, and I know he’s very strongly advocating to be sure that children eat in this country – there are hungry children on a level that we would not believe here.

What is your favorite Jeff Bridges film?

GL: My favorite Jeff Bridges film, aside from Lebowski – which is just a masterpiece – is Cutter’s Way… it is a small, noir-ish film, from the early ’80’s, and it is superb. Aside from that, my next favorite is The Fisher King, also because I adore Terry Gilliam, the director.