- Hi, I'm Hermene Hartman with "N'Digo Studio."

Today I wanna welcome to our living room and we're going to talk about Black Public Media.

You know, that's a critical issue.

It's a critical issue to media and culture, because the reduction of funding for Black funding media has been defunded by the Trump administration and that means that the essential elements for support and access and opportunities for Black filmmakers and documentarians has vanished.

Well, that's not it.

Last 50 years in Harlem, Black Public Media has been producing and distributing original content for public television about the highlights of the global Black experience.

(drum beating) - [Interviewer] Do you consider this music as a weapon?

(drum beating) - Sometimes we do use the music as a weapon against man's inhumanity toward man.

(upbeat music) Everything I wrote and recorded had to do with the movement.

- [Narrator] It was a new political feeling among the guys.

- Their greatness has earned Emmy Awards, Peabody Awards, Telly Awards and even an Oscar nomination.

Their support brings about authentic voices and experiences on the screen, shaping documentaries that prepare history, reflect our communities and share genuine stories.

♪ I've been low - [Narrator] The story of the Negro in America is the story of America.

It is not a pretty story.

♪ Oh, I'm a Black man in a white world ♪ - Most of the white Americans I've ever encountered, sure they have nothing but ever against Negro.

That's really not the question.

Really it had that apathy and ignorance.

You don't know what's happening on the other side of the world 'cause you don't want enough.

(upbeat music) (dramatic music) (somber music) Now that that funding is at risk, the future of these stories in the cultural narratives is in question.

Today, we're going to talk to Leslie Field Crews, who is the executive director of Black Public Media, and we're going to show you some of their work.

N'digo Studio, N'digo Studio Funding for this program has been provided by Illinois student assistance Commission Community Trust CineCity Studios Lamborghini Chicago Gold Coast and Downers Grove Common Wealth Edison and Broadway in Chicago N'digo Studio.

- I'm talking to Leslie Fields-Cruz of Black Public Media.

Leslie, talk to me about Black Public Media and what its gold and purpose and inception was in the first place.

- Sure, Black Public Media is a 40 plus year old nonprofit that focuses on supporting the independent documentary makers who are telling stories about the Black experience and ensuring that those stories that we're supporting are available to the public for free via public media, so we work closely with PBS and many of the programs that broadcast on PBS called, such as "Independent Lens" and "POV" and we also have our own series called "Afropop: The Ultimate Cultural Exchange" which is in its 17th season So this year something happened.

Am I correct that you the only organization of your kind, philanthropically in the country?

- Yeah, I would say that.

I mean, I don't know if there's any nonprofit that is funding solely documentary stories about the Black experience.

- So yes, I would say that we are the only organization out there doing that type of work.

- Okay, so something happened this year that the Feds defunded you, tell me about that.

- So the rescission bill that went through this summer required that money that had been allocated to the Corporation for Public Broadcasting, which is one of our main funders, right?

Money that was awarded or allocated two years, two years prior to right now, the rescission bill clawed that money back for 2026.

So when Congress voted to say, "yes, we want to spend," you know, one point, I think it's $1.1 billion, - 1.8.

- 1.8 billion, well billion Dollars on public television and that money will be available in October one, for fiscal year 26th, which actually starts October one of 2025.

You know, Congress made that decision two years ago and the current administration is, you know, they're pulling money back all over the place.

They're breaking things down, busting things up and this was one of the things that they did, they rescinded the funding, the advanced funding to the Corporation for Public Broadcasting, which meant that come October 1st when we were expecting $1.8 million to be provided to Black Public Media, that money's not there.

- All right, so what do we do?

We're not gonna go out of business, we're not gonna go under, what are we going to do in terms of funding, Leslie?

- Well, right now, many thanks to a number of our other funders who have stepped up to the plate, who are supporting us, you know, that's one of the reasons why we are not going out of business, but we have had to let go, a few of our beloved staffers, which was really frustrating because that's not something, you know, they didn't do anything.

It's just 'cause the funding wasn't there, but we are also, we've launched what we're calling our 1.8 million donor campaign.

We lost $1.8 million, but we're actually looking for 1.8 million donors.

This is people in the public, from the public, because remember the funding that we received from the Corporation for Public Broadcasting, that was funding coming from the people, it was coming from the public.

So we're taking our story, we're taking our, you know, our need directly to the public and we're saying if you enjoyed films like, "I Am Not Your Negro," if you enjoyed films, documentary films like "The Disappearance of Miss Scott," then you should support Black Public Media, because we were one of the funders in both of those films and we came in at very crucial times in the projects development, so - Also, Max, you did something with Max Roach?

- Yes, "Max Roach: The Drum Also Waltzes" that is another one of the films that Black Public Media has funded and so part of our campaign over the next year is we're trying, like I said, to reach 1.8 million donors.

You can give anywhere from as small as $5 to as much as you would like to support independent documentary films about the Black experience.

- So, if someone does, who's watching with us today, who wants to donate, tell me how they might do that.

- They can go to our website, blackpublicmedia.org and right there, when you land on that front page, you'll see a button to donate.

Just click that and you make your donation.

- Okay, that's, - It's as simple as that.

- That's easy enough, right?

So do you think with the decrease, of the defunding, not the decrease, the decrease and the defunding, do you see erasure, do you see the Black narrative not being erased from the public?

Our storytelling being erased?

- You know, I think it's an attempt at erasure, right?

- I mean, if we look at our history and we know our history, these attempts have happened since we got here, right?

They took our language, because they didn't want us to speak to each other, they didn't want us to, but we found our own language and we started to share stories and we continue to share stories.

So yes, I believe it is an attempt at an erasure of Black stories, Black history.

You see what they're trying to do to the African American Museum, you know?

So, but again, I use the word attempt because in my, I have to believe and in my heart of hearts and if I know my ancestors, they will never erase our stories.

They're gonna try, but they will never succeed and so, and it is because we will to be innovative and we will find ways to make sure that our stories are made and seen.

So yes, they're attempting to erase our stories.

- What does it mean though for, Two.

We're too far with too much educated.

Now, with digital media, it's a lot easier.

And that's a question.

Is it a lot easier now?

We don't have to depend on a single source.

We are multiple source, multiple platforms that we can initiate, on with our own initiatives and platforms, that these stories will get tell.

What does it mean, though, as we talk about the Black experiences, as we talk about our own documentaries, as we talk about the Max Roach story, as we talk about, "I am Not Your Negro," as we talk about these stories, it is the perspective that is so valuable and so important to be told.

It's not another story about James Baldwin, it is a Black story on James Baldwin, that's important.

Talk about that perspective for me and the value of that.

- Yeah, I, you know, one of the reasons Black Public Media exists really is to make sure that the Black perspective on all things in this country and in this world is represented, right?

Right.

You know, many people can do a story on James Baldwin, James Baldwin, but I don't think that, it took Raul Peck to do one of the defining stories about James Baldwin and it was based off of James Baldwin's own words.

That's right.

In his own words.

In his own words.

And so there is definitely, a need to make sure that our stories and the diversity by our stories, let me just say that, because oftentimes people tend to wanna pigeonhole the Black experience, but we know all too well that the Black experience is very diverse.

It has many different perspectives and that's one of the things that we, at Black Public Media, that's what we understand.

So, you know, someone else might bring a story to us about James Baldwin, but it might focus on a different part of his life, it might focus on, you know, one of his books and so, and we will see that, and we will appreciate that because we know that there's just no one way to tell James Baldwin's story, right?

There's no one way to tell the story about Blacks in Chicago, right?

We wanna make sure that we're funding, that we're there to support the diversity of those stories, because there is no one way to be Black.

- So without you, these stories might not happen.

They might not be told, these stories are expensive to tell, documentaries are very expensive and long range activities, because there's research to be done, there's film to be pulled, there are books to be read and it's not, you can't do it in an hour, it's not a soundbite.

- It's not a soundbite.

- It is way from a soundbite, but these are real stories and I thank you for doing what you do and I hope people see this show and see the value of contributing to Black Public Media and we're going to talk in a bit to some Chicagoans, Chicago women that you funded and we're going to talk about their experience and their program and we're going to show a bit of it.

Thank you so much Leslie and we have to keep telling our story.

Joining me now are two ladies who did their first documentary, and they were funded by Black Media and they've done some wonderful work.

You're going to meet our Arlieta Hall, she's a host, she's an actress and most of all, she's a standup comedian.

- And she is also a certified dementia communication specialist, first time filmmaker and the film is "Finding Your Laughter."

- And Brittany Alsot, she learned the power of participating in a documentary for early careers, making short videos about young cancer patients in Seattle's Children's Hospital.

You all got together and you did something very, very interesting and I think very, very important.

So Arlieta, tell me how your film, "Finding Your Laughter" came about and why you did it.

- My father was diagnosed with Alzheimer's disease and I decided to quit my job, at the time, I was a human service caseworker for the State of Illinois and the Woodlawn community.

I loved my job and I loved taking care of people, but I learned at my job with the clients that I had about home care aids and so I was like, "hmm, maybe I can do this for my father and take care of him" because my grandmother had Alzheimer's, so I already knew what it looked like, that he was gonna forget who I was, I watched her forget who I was, so I was like, I wanna kind of help my dad the entire way through to help him have the most fun, 'cause that's who my dad always was.

So I decided to quit my job and then I would post videos on social media like we all do, you know, but I would post videos of me like stepping with him, you know, that Chicago step and then people would be like, "I love to see what you're doing with your dad."

I look on social media to see how you and your dad are communicating.

I'm like, "What?

Alzheimer's looks cool?

You gotta be kidding me."

So it really touched me, 'cause it made me feel like other people can hear, see the story without Alzheimer's always looking so like, most commercials are, or images you see, it's always like lights down, someone in the corner really, really dark, so I was like, I wanna do something that's really fun.

We were dancing, we were laughing.

No matter what character he thought I was, I would always go along with it.

- Your father was a principal?

- Yes.

- What school was he principal at?

- So he opened up Claire's Academic School, it is a alternative school and then he retired as a juvenile justice reentry coordinator for the State of Illinois.

- Now Brittany, how did you all get involved?

I wanna hear how this film came about.

How did you get involved and how did the film start?

- Yeah, Arlieta and I met on a film set.

I was the director of photography and Arlieta was a PA and we just hit it off and then we became friends and Arlieta asked me to film some of her comedy shows.

She had a birthday show where she hosted and danced and did comedy and did improv and so it was a lot And so it was a lot, and, she told me about her father.

and when I came over to meet him and to start filming with them, because she wanted to capture him while he was still pretty lucid, I was really struck by their unique relationship.

I lost my dad when I was little and so it made me think about these moments that I didn't get to have, these conversations I didn't get to have and I really wanted to support Arlieta in telling this story.

- So the film goes through the journey.

- Yes.

- Of dementia.

- Yes.

- And you were showing everyday living?

Did you take care of your dad by yourself?

Were you the chief caretaker?

- So, no, I was a part of a care pair, along with my stepmom, who I call my bonus mom, Charmaine.

So her and my father were living together and they just took care of her mother with Alzheimer's until the end and then right after she died, maybe two years later, my father was showing signs.

So I quit my job to help her even though she was like, "I don't need help," I'm like, "yes, you do."

So I started helping her and getting along with their journey and I kind of go along with them, even though I quit my job, I felt like I was retired with two boomers, so I got to understand the life of the view, working out or having some coffee.

(laughs) - So why was it... Was it intrusive, invasive for you to have the film in such intimacy, everyday living or was it staged for filmmaking?

How did that work out for you?

- So originally I would just do videos of me and my dad, then when it came time we were actually doing a documentary, so Brittany's first time over, I told my dad we were making a TV show about him and all the great things that he's done, because he's been like a writer, performer, just a lot of good things and he was like, "okay, as long as it's nothing ridiculous."

So we are like, okay, he let us mic him and then he sat down and literally went straight into character and the first thing I believe he said on camera was, "thank you all for remembering what's going on."

So what you know, I mean straight into mode as if he was running the show and with that being said, he was okay with it every time he brought the camera on and he would talk to her with me, so I felt like it was more so, not only him recognizing that he was being filmed, but also he was just okay with having time with me.

Like, this is my daughter.

- That was your time together.

- Yeah, this is my daughter, she happy, she playing and he didn't, at a certain point, I could tell, he didn't know how old I was, so he was just happy I was just there.

- You were still his little girl.

- Yeah and I would be like, "daddy" and he'd be like, "go sit down somewhere."

I'm like, "okay, he think I'm five."

"Milton, we need you in the kitchen."

You know, he'd be like, "oh okay, who was that young lady?"

- What did you both learn from the film?

To live with someone with dementia is quite an experience.

There are a lot of learns with the experience.

They're tender, they're funny, but you'll also cry a lot.

but they are still also cry a lot.

What did you learn from the film that you want others to know and what did you learn in shooting the film?

What'd you learn?

What's the learn?

- So for me, I was studying improv at the same time that I was my father's caregiver.

- That's how you kept sane?

- Yeah, so what I learned with improv comedy is the rule of yes and, to be in agreement with your scene partner.

So if they tell you like, "today we going to the store," "yes we are going to the store and we're gonna buy some greens."

So I learned how to go along with my father, no matter what he was saying and so which validated him in a lot of conversations, no matter if he got confused or what, I'm going along with it and I'm prolonging the conversation and even when he would get sad or angry, I would validate him and make him right.

You have every right to be mad, you absolutely right.

It's my fault.

I done messed up again.

- So agree.

- I agreed.

- Agreed.

- And even though it will hurt me and I'm gonna be, you know, because at the end of the day, I'm watching the person that I looked up to, to know everything die every day, so it gave me the moment to just have some laughter and agreement and watch him feel like he was running the show instead of feeling like he doesn't know anything at all, 'cause it wasn't worth me being right, so I feel like that's what I learned the most.

When you're a caregiver, you don't have to be right with the person you're taking care of, because they already are dealing with a dis-ease.

So if you can meet them where they're at and agree with them in those simple conversations, you give them so much more in that time instead of argument.

- Brittany, what'd you learn?

- I learned so much about improv, for one and just looking for joy in the moment in life in the moment in life and in your family.

To really find that, that closeness and, like.

and like, yeah, just watching Arlieta, like what would she give up to take care of her family and have that time with them and how to make that into something that is gonna benefit other people as well, to be really honest and really vulnerable, I think that's powerful.

- Profound, finding that joy, 'cause you gotta find the joy, not the darkness of it, not the ugliness of it, but you gotta find the joy of it.

How'd you come up with the name "Finding Your Laughter"?

Because when I heard about it I was like, "find your, what does that mean," "Finding Your Laughter"?

How did you come up with that title?

- So we were working through a few different titles on the film, but the title came from a conversation that I had with one of my friends and we were just talking about life in general and then I was talking about how, now that I'm a comedian, you know, and I've been silly my whole life, people always want me to just do stuff on the fly and I'm like, "find your own laughter" then I'm like, mm, then me and Brittany started talking again, I'm like, "maybe we could be finding your laughter, 'cause really what I'm doing, my daddy is not funny, I'm finding my laughter along this journey" and as I'm finding it, he's laughing along with me and then we put it with the film, we were like, "we think this works" and it felt like something that, because we were working on it, it was finding as well, so once we talked about it and kind of talked to a few different people, everybody liked it.

- This it is a fabulous title.

How'd you get your funding from Black Media?

How'd you get your funding?

How did that come about?

- So we met Black Public Media in 2022 at the Gotham Week Lab in New York.

We met Carol Bash, we sat down with her and talked about our project.

We were not, nowhere near as far as we are right now and the first thing we got from Carol was a listening ear, validation that what we're doing is important, she was like, "it's okay that you all are first time filmmakers, you all are working together."

She was like, "and you are a Black filmmaker," she was like, "it's not gonna be easy, but your story is important, it needs to be told, and let's stay in contact."

So I believe we applied that year, but we didn't get in, 'cause like I said, we weren't where we needed to be, but they kept contact with us and then reached out to us like every six months or to a year, like, hey, just wanna check in on a project and we have applied to a lot of grants.

We have never been reached out to, to see how we are doing.

- Had you started filming yet?

- Yes, we had already been filming.

- So you had started filming before you got funded?

- Yes, we had already been in production before we got funded.

We just kind of hopped off the grind and started in production, so we were in the middle of production when we met them and they always checked on us to see how we were doing and then this last time around, they were like, "you all should apply" and invited us like, "hey, we got this open, apply."

So we applied and then we got in and when we got into the Pitch Black Incubator 360 Program, it was like, not only do you get into pitch for $150,000, we're going to prep you to do that, so they had already checked on us and build a relationship with us, but then they were like, now we're gonna mold you into not only filmmakers, but being able to represent the film, so like represent you as a business.

So that's how we ended up meeting them and going into the Pitch Black Program and we went through the incubator for a weekend.

They taught us so much.

We did virtual meetings with them and then we went out there, we took everything that they taught us and applied it.

That's key.

- Did you show them anything?

Did you show them any excerpts of what you had been?

- Yes, we did.

- What you were filming?

- Yes, we did.

- You showed them stuff.

- We showed them stuff and we practiced pictures and they were honest, like, "you gon' have to work on this."

And we did.

And it was.

They gave you the areas, the elements that you needed to work.

Every single element, every aspect of where we were speaking.

I even went in and tried to just be funny, like as my page.

I was like, I'm gonna go in and do comedy.

And they it it shocked the room after this and then they were like, it's okay to be funny, but we want you to be real before you try to be anything else.

Oh, wow.

So that was a good experience.

Yes, it was great.

Life changing.

- So we have more films to look forward to?

- Yes, so because of Black Public Media funding us, we can now actually finish our film.

- With the Black Public Media funding, we are able to fund post-production and finish the film this year, which we're very excited about.

We're working on it for over six years.

- Six years in the making?

- Yes.

- Wow.

Ladies, you all have done a magnificent job.

We'll see what happens with that.

So we're in talks.

We have, our executive producer, Yvonne Welborn, From Sisters.

And Cinema.

And sisters and cinema, knows the the programmers at different festivals.

So, the key is the key is really networking and, and having relationships with people in the film industry.

And really being on public television.

Ladies, you all have done a magnificent job.

Great six years worth of work and, telling the story about of taking care of a parent and going through Alzheimer's.

That's that's quite a feat.

That's a journey.

And if you found joy in it and you found laughter in it, I'm glad you're sharing it.

Thank you so much for being with us.

And, you know, we've got to keep black funding media alive because these are things that Hollywood is not going to do.

but these are stories that are real, they are honest, they are authentic and they are about things that people should know.

Congratulations to you and I look forward to seeing the full film.

I've seen the excerpts and I'm just cracking up with you and congratulations, thanks for being with us.

This is Hermene Hartman with "N'digo Studio."

For more information on this program, follow us on Social media Funding for this program was provided by Illinois Student Assistance Commission, Community Trust, CineCity Studios Lamborghini Chicago, Gold Coast and Downers Grove, Commonwealth Edison, and Broadway in Chicago "MUSIC PLAYING" N'digo Studio.