Hello guys crypto grounds here welcome back to another unity c-sharp idle game tutorial video this episode 41 And today we're gonna be building our project for the very first time So this video can be pretty much done at any point We're gonna be doing this for Android only I really don't feel like getting into the iOS portion because it's complicated Be I don't have my Mac with me and that's why I usually build my iOS But I will do I'll do Android and stand alone for Windows. Okay, so First off this is gonna be probably one of my last videos unfortunately for this series just because I'm running out of like solid ideas because I have like tooltips on the list, but I was like well Tooltips are kind of difficult for mobile games But I thought I could just do that in a separate series on its own rather than add it to this I think that's just kind of silly cuz not really like for only for idle games, you know So I'll probably do of course. I'm it. I'm never gonna stop uploading videos. I promise that it's just the series is Gonna kind of halt I guess unless someone brings up an amazing idea So if you have any ideas, just let me know in the comments below and I will think about it okay, and After this I'm just gonna be continuing doing like different types of genre games like right now I'm doing the anti-matter dimension series in my future. I'm gonna do like merge games I don't your adventure communists I'm gonna expand the cap or adventure capitalists. I'm gonna expand the clicker hero series I really need to and so on so I have a list of stuff to do I've explained it in another video before but anyways if you enjoyed this video Make sure smash that like button subscribe my channel and turn on those notification every single subscriber means a lot to me And it will help me Reach more goals to make more videos for you guys. All right. Yes, let's Let's get started. So let's head to file build settings. Okay, so this is right where we will manage our Building phase now if you have it installed some of these things Let me show you how to do that and you want to do this first. So you want to go to installs here Click the three dots add modules and make sure you have Android built support and built both Android SDK and any K and the open JDK If you want to figure it out, I was built support Macs built support mono. I don't recommend. I that's kind of a mistake because I'd rather build IL to CPP It's so people can't like get into your files and find out what your script to do. So that's not very safe That's what this is good for so and then web GL built support I'm not gonna show you how to build web GL because just various reasons. It's dying first of all and Windows built support IL to CPP. Okay, so make sure you have all those and really the main two you need is Android and Windows, I mean, it depends where you're gonna install it. Okay So once you have those installed, you'll need to restart unity. You might even as well like quit out of it first Okay, so let's start with PC. So here's our settings right here Our target platform is Windows and we're building for 86 64 64 bit architecture and head to our player settings So you're gonna see like a whole bunch of stuff here. Okay. Now. You don't need to do absolutely everything. Okay, so now Company name choose a company name. I can just do crypto grounds now What how is this relevance now? It's relevant because it actually depends on where you save your things So before is default company and that's where my Let's see my idle tutorial series. This is where everything was being saved originally So after I change this company name things will move Okay to my crypto grounds folder and that will be in here and now you can't see it yet because we haven't actually ran the game yet And we have the game right here the product name the version you want to increase this every time you release an update Okay, so icon now I don't have any icons right now, and I don't want to make any but your y'all you need to do is just set a default icon right here Okay, it could just be any PNG And you know, I don't I don't think I've ever done this. I've never touched the icon drop down Resolution and presentation we want to be it could be whatever you want. It could be windowed. It could be a full-screen window Maximize window or borderless window, but I choose windowed Okay, and you can add a full-screen setting in your in your app And if you want to see a tutorial on that, let me know in the comments below and Let's just say the default is 1920 by 1080. Okay, and we want to make this resizable too. So macro tennis port runs in background That's very important because if you want to let's say go alt tab the chrome, you know It's not gonna progress without unless this running backgrounds on Okay Use player log and you can turn it off. This is really good for testing So you can see like the console log that you see in unity, but in like a file, which is where the save would be and I'm turning it off because player logs can get pretty big, but that's up to you So recyclable window. Definitely we want a resizable window and actually this is a mobile game format So I want to change this resolution to something like 640 by 1136. Okay now if you've been doing this in a In a 19 or a 1080p format perfect. Okay, so just make sure you have the Resolution you like. Okay Visible in background. I don't mess with that allow full-screen switch. That's basically where you can make it go full-screen I Don't mess with any of these settings Supported aspect ratios. Okay, so what is the aspect ratio for this? So we do 1640 divided by 1136 And we get this right here, okay Now if we do sit now nine by 16 we get that 0.56 which is the same thing as this so our supported aspect ratio for this game is 16 by 9 okay, so we can just keep others and 16 by 9 on now again This really depends on how you set up your game Splash image. I never adjust this you can add your own logo if you like Also, this is cutting off the screen. Sorry, but yeah, so you just choose an image right here I never I've never like really messed with this you can change the color of the splash image, too So we can make it like a red if you wanted to otherwise, yeah, I just leave it as is other settings and Unfortunately, you can't get rid of the splash image unless you have the Pro Edition which costs money So, I mean, it's not that big of a deal. Honestly, if you add your logo, it's okay Let's see now I leave these settings as is Okay, so Mac App Store options your bundle identifier now if you're building around this for a Mac You can make sure you do something like crypto grounds. Obviously choose your own name, please I'll tutorial game or something like this. So this is the format of the bundle. I ID now We're not building from Mac. So we don't have to worry about this Okay, and every time you build for no matter how small the update or how big it is You want to increment this build by one? Okay, because that's just how the the version control works for any device Okay, so if you're updating with the same build number, it's not gonna let you update or if it's less It won't let you update. It's got to be greater than okay. It's the thing that always increments. All right, and Category I have never touched a category before So I'm gonna ignore that scripting back end. So we want to change from Mono to IL to CPP and We want to change our app API compatibility level to net 4.x and we should have done that at the beginning of the project I just kind of forgot that existed but make sure you change that okay See plus plus I've Release I guess I I don't remember changing this Leave all these settings as is Managed stripping level we want to set this to high okay and Honestly, this is this really depends on how severe you want the When it builds on how it wants like I don't know the correct word I want to say scrambles, but it's not really scrambling so basically when I'm building it compiles your entire game into a bunch of folders and files and stuff and Basically without it. We would be able to access our scripts pretty easily by reverse We can do people can just somehow find your scripts right so the higher this is the better But also the longer and probably the bigger the project is okay, but this also means that your code is safe Which isn't a nice thing okay, so people can't steal your code, so I'm personally set this to high So if you want to do more research on it, you can find it on the unity You can find it on unity's website I Leave this Stack trace okay, so I keep this as script only this also changes your settings for what kind of errors you get in here If you do full The errors you get are the stack trace are pretty lengthy sometimes they can be very useful sometimes they they're okay But personally I do script only so just leave as is XR settings. I yeah, we don't need to touch that. Okay Anyways, we should be able to build for PC now. So we'll just hit build and I'm gonna put this in my builds folder. You can put it wherever you want and I'm just gonna create new folder called idle tutorial Build 0.1. I think this is version 0.1 Yeah, okay now we just wait Okay, so we have experienced our first error. So when building you will get lots of errors Okay, so if you get errors, please don't spam my comments because 100% or 90% of the time it's gonna be completely a different error But here it says the type neat or namespace package manager does not exist in namespace unity editor Okay, so let's check this out so in our case it's a script related editor and Sometimes we won't see this on play and this will actually only show up when you are building your project Which is kind of funny, but it happens So sometimes I get okay I've gone at least hundreds of errors when building and it's beyond stressful I I will knit and there are sometimes where I just want to give up the entire game just because I can't build it But don't just do your research online There will be a solution on there Just pretty much a copy like the first like few lines of this error or something like something like this and Search it on Google and nobody's something to help you out Most cases I probably won't be able to help you because it's just simply trial and error. Okay So, yeah, please don't spam my comments because most of the time I just can't help you And now let's wait for a writer to load so we can see what this error is Okay, so we have this unity editor package manager dot request now I don't remember adding this at all, but once writer Does its thing we will see I don't even think this is used So I'm just gonna safely delete this because I Personally don't know where this came from So I'm just gonna get rid of it save it and let's try again, and I guess it didn't affect our Script initially, so we'll see Okay, so make sure you double check your settings again, and let's build again We'll see if we get anything this time So where's my tutorial folder? All right, so we got yet another error sadly See you just get like random errors like these like failed running Filter on this. Okay. I remember I've had this issue in the past. I just couldn't figure it out Okay, let me see you'll probably get something like this just random errors. You have no idea what it means So that's the case you just search it up Okay, so finally this frickin forever, but I honestly had issues building with I'll I'll to CPP also which stands for I Think it's Intermediate language to see plus plus which is CPP. Okay, so I switched my scripting back into mono I don't want to use mono, but it's I've tried so many times to get I'll to CPP torque I've copied all my exact settings for my other project my main crypto clickers project It just wouldn't work. I just got this same crappy error that tells me nothing and I Get the exact the exact same thing for my Mac OS build. I don't know So if you get errors like that just try doing mono, I mean it sucks, but it's just the way it is I guess that's what we're have to do. All right. So anyways in your folder You should see this right here now when you're uploading it through something like cartridge you just make sure you take all this and Archive it as a zip. So like if you seven zip you can do add to archive and convert to a zip file But otherwise we can just run our application here our idle game tutorial series. Okay, so let's run it also your antivirus might Might get mad at you So that's the case then it's okay. All right, cool. So our game has loaded now. We can Resize it however you want to obviously it's not gonna look that good just because of how our formatting is But and it's meant to be a mobile game Yeah, see this kind of turned out terrible It's okay And you see we have the watch ad obviously it's not doing anything but Okay, but otherwise we can semi-play the game. Yeah, we need to work on our anchors So if you if your game looks bad like this, then you just need to work on your anchors But yeah, everything works It works. Okay. Also looks like I forgot to put this back in some folder It's daily. Let's see. Yeah, things look really weird. Wow. I lost my button here. It's all the way up there All right, but yeah, that's for you to play with an experiment if you have any other issues I would highly suggest you using Google because I'm honestly no master at building this. So, okay, so there's windows. Let's hop into Actually, you know what? Let's do Android a different video because of how How annoying this video is so next video will be Android building, okay? So if you enjoyed this video, and I hopefully it all worked for you if I'll to see BP worked for you great for you Hopefully it did if it didn't then give mono shot. Okay. It's not like what we want, but it'll work for now Okay, anyways smash like button if you enjoyed this video subscribe to my channel If you're new and turn those notifications to get notified for future videos Comment your feedback suggestions all that good stuff below check out my patreon in the link in the description below if you want to support me Or join my channel membership, and that's also a good way of supporting me Otherwise subscribing and liking that will do everything for me. Anyways, thank you guys for watching and peace


A lot of people say they would one day love to move to a farm and live a simpler life but not many follow through. Pop star and rapper Khaleese who's toured all over the world and collabed with some of hip hop's biggest artists is someone who actually made that dream happen. Throughout the pandemic Khaleese decided to trade in her gorgeous estate in Glendale California she lived at for many years for a beautiful farm almost 100 miles away in Temecula California. Today we're going to check out her properties. In these videos we don't reveal any addresses and even though I've done a house tour of my own place please do not show up at any private residences because it's not safe for anyone. American singer songwriter Khaleese is probably best known for having the type of bedunkadunk brings all the voice to the yard as she's so famously detailed in her 2003 breakout song Milkshake. Hold on I'm not sure how that clip got in here but that sure wasn't Khaleese. This is Khaleese. Since that moment in time Khaleese has gone on to sell over 6 million records worldwide and be nominated for two Grammy Awards earning herself an estimated net worth in the four million dollar range in the process. But over the past few years Khaleese has seen a shift not only in her occupation. Instead of concentrating so much on her music she's begun to spend more and more time on her culinary aspirations writing a cookbook called My Life on a Plate in 2015 and appearing on this series cooked with cannabis on Netflix just last year. This development in her work life would ultimately result in a change in her personal life as well inspiring her to move on from her spectacular home located in Glendale California where she had lived for nearly two decades and relocate to a choice piece of farmland tucked away about 93 miles down the road into Micula California. Since moving there Khaleese has begun to experience a totally new way of life and now she couldn't possibly imagine living any other way. Hey guys it's Kara the Vampire Slayer back with another exclusive house to her here in famous entertainment today looking at a couple of Khaleese's homes. Don't forget to like hit that subscribe button if you haven't already and follow me on instagram to chat. Now let's get into this video. Way back when in 2012 Khaleese just dropped the screen produced single distance when she decided to pick herself up this stunning 3850 square foot property for the relatively low price of just 875 thousand dollars. Now I know that might sound like a lot of money but for a house this nice located in the state of California trust me when I say it isn't. What originally sold Khaleese on the property was the home's history. First built back in the 1920s this house is warm cozy and gorgeous simply put they just don't make them like they used to. When speaking about her decision to buy this home with architectural digest Khaleese told them the architecture inside the house was amazing and it had a very dramatic old Hollywood feel backyard was so glamorous and really for me that felt great it was so nice for entertaining and I pictured all the things I could do back there. After moving into the home Khaleese worked tirelessly to restore the property to its former state of greatness for example she added decorative arches on the third floor and also restained the wood features throughout the house to match. At the same time Khaleese also modernized the place as well especially when it came to the kitchens that's right I said kitchens as in floral. Khaleese had two kitchens one inside and one outside that outdoor kitchen had been enhanced with some gorgeous Italian marble and an old wheel that Khaleese sourced from the Rose Bowl flea market in Pasadena California that has been hung from the ceiling to function as a pot rack. Meanwhile the outside kitchen features gigantic smokers so that Khaleese can experiment with her variety of different feast sauce lines. Exploring the backyard further there's a lodging that's lit up by a pair of raw iron chandeliers which also compliments the rest of the multi-level backyard down below. There's also expansive terraces into 12 foot deep salt water swimming pool alongside a guest house with polished concrete floors a full bathroom and a river rock clad wall. Exclusively created for Khaleese by the fashion designer Roberto Cavalli it features a bold colored flamingo print that first appeared in her music video Jerk Rips. From the front of the home you can step into a glamorous living room outfitted with high barrel vaulted ceilings and an original batch-helded tile fireplace. The nearby dining room is just as grand featuring a bay window that ties the room together with the indoor kitchen including its lux black and white checkerboard marble floors. The rest of the main floor living spaces include a small office with a backyard view and a moody looking media lounge with a chandelier crafted from trumpets. Upstairs there are two good-sized guests or family bedrooms including the master bedroom which comes complete with a white tiled kiva style fireplace. Her ensuite also was a giant walking closet as well as a bathroom decked out with the holiest of holy grails heated tile flooring. And that gold accented bathtub that she imported from Indonesia also a stunning perk. Even the attic space at the very top of the house is finished and is the perfect spot for some self-reflective yoga. But all of these attractive features no doubt begs the question why did Khaleese want to move in the first place? Well according to what she told Architectural Digest, it really came down to wanting to create a self-sustaining environment for her family. She told them, And now that I've got two boys I want to control a little bit more how we eat. We're buying a farm so that's why we're moving so that we can grow everything and sustain everything that way. So in 2017 Khaleese listed this marvelous home for a little over two million dollars somewhat amazingly it would take over a year to find a buyer and even then Khaleese would have to knock about 500k off of her asking price ultimately selling her former home for 1.7 million dollars. It's not all that uncommon for the average person to say something like maybe I'll just move to the country and live off the land. It's just that usually no one ever does but Khaleese well she made it happen. After moving out of her home in Glendale, California, Khaleese packed up her family and brought them to their brand new farm that she dubbed Bounty Farms. Tucked away in the flats of Temicula, California, Khaleese is now wholly focused on growing her own produce like arugula and raising her own livestock. In fact, Khaleese has been caring for more than 30 animals and she even names them after famous performers like Marvin Gaye, Whitney Houston and even Bob Marley. Admittedly that detail loses some of its charm when you realize that she's raising some of these animals to be food. But hey, no one ever said farm life would be easy. Despite that, Khaleese has managed to find her way over the past few years thanks to her combination of research, intuition and tenacity.  Until that moment, Khaleese had never even realized that any of their sheeps were pregnant.  Her sister recommended she get some gloves and assist with the delivery. But since Khaleese didn't have any gloves on hand, she simply created some makeshift ones out of a garbage bag. Then she headed out to her barn. Just like that, Khaleese taught herself how to help deliver baby sheep. Not long after another sheep went into labor with twins. This time Khaleese was ready and had the proper equipment good to go. She told Harper's Bazaar. You become farm people quickly. None of my friends would have pegged to me as a farm person, but I'm as farm as it gets at this point. So yes, the farm life was jarring at first for Khaleese, but now she wouldn't have it any other way. She continued to Harper's. It ended up being a blessing. I was able to be home and learn this land. The experience has become a second coming of age. Slowly, but surely Khaleese's farm selection has continued to expand as well. And now includes a bountiful harvest like kale, broccoli, herbs, carrots, tomatoes, strawberries, blueberries, eggplant, lettuce, and different types of peppers.  She's also got her very own olive grope. Couple that with her livestock. And if Khaleese ever chose to sell her products directly to her fans, bounty farms could become a one-stop shop for everyone's culinary needs. But for now, Khaleese is content that what she's managed to build will sustain her family for years to come. All right, after looking at a rapper and I guess now farmer, Khaleese's Homes, that'll bring this latest house tour to a close. We saw her two very different properties, including her longtime glendale estate and her new farm lifestyle. And I hope you guys enjoyed it. What do you guys think about Khaleese's switch to the California farm life? Or what did you like about her former abode? Let me know in the comments down below. Thanks for watching. Don't forget to give me a follow over on Instagram and tell me which celebrity homes we should take a look at next. Thanks for watching. I'll see you all next time. Bye.


Welcome to this video. Today, you're going to learn the difference between do, does, and did. This is a question that a student asks and it's a great question because I'm going to make this nice and easy for you. Of course, I'm Jennifer from jforisenglish.com and this channel is dedicated to helping you sound like a fluent, confident, natural English speaker. Now before you go any further, make sure you subscribe and hit that bell icon so you're notified every time I post a new lesson. Now let's dive in with this video. What's the difference between do, does, and did? Well, you need to understand that all three of these are just different forms of the verb to do. So the verb to do is the infinitive. Now, do and does are the present simple conjugations of the verb and you simply choose one or the other based on the subject that you have.  If your subject is he, she, or it, so third person singular, you need to choose does. And that's it. That's the only difference between do or does in affirmative sentences in the present simple. But keep in mind that do as a verb is used in very specific sentences in the present simple. So for example, you do chores. You do chores. The verb do is what we need to complete the sentence. So I could say I do chores every Sunday. This is a routine is in the present simple because my subject is then I need do. Now you can also do homework. For example, do is the verb that we use with homework. Now I could say my sister, which of course is she as a subject, my sister does homework every night. Again, this is a routine. So I need the present simple. My subject is my sister, she, so I need does. Now let's talk about did. Did is the past simple form of the verb to do. And as a past simple verb, there's no difference with subjects. So you use did for all subjects. So that one is easier to remember. And of course, if it's the past simple, then we just need to make sure that our time reference is in the past. So I could say we did our homework last night. She did her homework this morning, assuming this morning is already in the past, because right now it's this afternoon or this evening. So this morning is in the past. She did her homework this morning. So notice it doesn't matter if I use we or she, this subject doesn't matter because did is used for all subjects. You just need to make sure that your time reference is a past time reference where do and does your time reference is going to be a routine action. So you're going to hear time references like always usually every then you know it's a present simple. So now you know how to use do does and did in affirmative sentences. If you found this video helpful, please hit the like button, share it with your friends, and of course, subscribe. Now before you go, make sure you head on over to my website, jforisenglish.com, and download your free speaking guide. In this guide, I share six tips on how to speak English fluently and confidently. And until next time, happy studying. Awesome job with this video. You're really improving your grammar and your sentence structure right now. Take the time to practice it and I'll see you in my next video. Bye.


Hello everyone and welcome to Blackstar Potential. My name is Lee Fuge and I'm here today with MusicTeacher.com and in this lesson we're going to take a look at how to write a chord progression in the minor key. So in the last video we talked about how you guys can start using the major scale to construct major key chord progressions in any key. So in this video we're going to do the same thing but with the minor scale. All of the tones you're hearing in this video are coming from the Blackstar Studio 10 6L6 which is mic'ed up with a Luit Audio LCT 440 condenser microphone. So in order for us to actually start writing minor key chord progressions first of all we need to work out how to play in the minor key. So last time like I said we learned the major scale which is this. And if you think back to that lesson we gave each one of those notes in the scale a number which we referred to as intervals. So we're going to use these intervals now to convert our major scale into our minor scale. So in that video I did reference the major scale being a bit of a gateway into theory and we can basically create other scales and other things in the theory world from that one scale. So that's what we're going to do right now. So to convert this to a minor scale otherwise known as the natural minor scale we have to first of all think of those intervals numbers 1 through 7 and what their corresponding notes are. So we've got A B C sharp D E F sharp G sharp and back to A. So those notes are going to be very important in us working out what our minor equivalents are. So first of all we're going to look at the minor scale. So to do this we need to change a few notes of this scale. So instead of 1 2 3 we actually need to be playing what's called a flat 3. This is the note in a chord that determines whether it's major or minor. So you get a major third and a minor third. So in the major scale we're playing a major third which is the C sharp note. But what we need to do to make this minor is we need to flatten this note. So to flatten the note we simply just take it down a semitone and instead of a C sharp it becomes a C. So my first few intervals are now 1 2 flat 3. Now to go from here back to the flat 3 here is a bit of a jump. So I'm going to rejig the scale shape a little bit and move this third fret note to the eighth fret here on the low E string. So I've got A B C. In the minor scale the 4 and 5 are exactly the same so that's still going to be D and E. So so far I've got 1 2 flat 3 for 5. Now in the major scale I had a 6 which is my F sharp and a 7 which is my G sharp. I need to flatten both of those notes now to F and G. So it's a flat 6 and a flat 7.  Now once again I can rejig this a little bit so instead of coming to the third fret on the D string for my F note I can put that here on the eighth fret of the A. My G note is fine here on the fifth of the D. So I've got A B C D E F and G. So those are my seven notes in the first octave of the natural minor scale A B C D E F and G 1 2 flat 3 4 5 flat 6 flat 7. So now we need to apply chord types to each of those intervals and that's going to give us the chords we can use to construct minor key chord progressions. So because we're playing in a minor key and we're starting from an A our first chord has to be minor so that's going to be an A minor. In the minor key the second note now which is a B this is going to be our minor 7 flat 5. The third chord in a minor key is always a major so that's going to be C major. The four and five chords are always going to be minor so that's going to be D minor and E minor and then our flat six and flat seven or our six and seventh chords are going to be F and G. So that's A minor B minor seven flat five C major D minor E minor F major G major. So you can see this rule is not too different to the way we worked it out in major we've just basically substituted a few notes there. So we've flattened the three flattened the six and flattened the seven so that gives us one two flat three four five flat six flat seven in doing so we've changed the C sharp to a C the F sharp to an F and the G sharp to a G. The other thing we've done is we've just jumbled up the order of the chords so we're starting on a minor chord so the formula for minor key chord progressions is one is the minor two is the minor seven flat five three is the major four and five are minor six and seven or flat six and flat seven are major chords so that is our formula to start writing minor key chord progressions now we just need to put it together so the great thing in minor key chord progressions is that everything we know from major chord progressions remains the same we can string any of those chords together and they will work so for instance I could go from an A minor to a D minor which is a one to a four that's always going to work because both of those chords are part of the same parent chord family which is a minor and I could take that one step further and I could add the five chord for instance or instead of going to the form five I could go to the sixth and seventh chords which is F and G or maybe you want to add that C major chord to the mix we could go A minor F major G major C major for a songwriter this is great because you can really still use your number based systems and this really helps when it comes to changing key so if you wanted to shift this to a different key just like last time simply shift the scale to the new position apply the chord types to the intervals and there's your chords for whatever key you're moving in if you come up with a progression in A that's a one four five or like I did there a one six seven you could just simply move that to a new key and use the first fourth and fifth or first six and seven notes of that key and there is your progression transposed to another position just like with a major key you're probably not going to lean too much on that minor seven flat five which in this case is a B minor seven flat five but in a minor key with it being the second interval of the scale it's a little more usable so you're probably not going to base an entire song around it but once again it's great to use as a passing chord on your way back to the root so there you go there is the natural minor scale in the key of A minor but with the theory to accompany that you can move this around to any position you want and now you are set up to write chord progressions in any key major or minor so if you haven't already checked out the major chord video please go check that out as well on the black star youtube channel and start creating chord progressions in whatever key you want anywhere on the guitar armed with a very simple bit of theory thank you guys so much for watching i hope you've enjoyed this lesson if you did please let us know down below in the comments what you thought how you got on and more importantly if there is anything else you'd like to see us talk about in future lessons please throw that below as well and don't forget to check out the black star amplification youtube channel for more lesson videos just like this if you're looking for a guitar teacher in your local area please check out musicteacher.com there's a network of fantastic teachers all around the country waiting to help you guys out thanks so much for watching and i'll see you soon


My name is Lynn Ellson. I'm a research fellow with Oxford University and Cymru Welcome Trust in Kenya. I work on Tungiasis, which is a neglected tropical skin disease. It's caused by a sand flea, which is known scientifically as tunga prenitrans, and the adult female burrows into the skin of mostly of people's feet, but also the hands. It affects mostly children of school age, the elderly and disabled people, and it's found very widely across or throughout sub-Saharan Africa, as well as Central and South America. There has been some research on looking at how we can prevent the disease, although there have not been any formal systematic studies done, but we think that we can prevent it by sealing the floors, because mostly it's people who live in a house that does not have a hard floor. Many people in Africa and South America live on a floor that is just soil and the fleas develop within that soil, so we think we can prevent it by trying to help people to have a hard floor, but also by assisting people to wash their feet every day with soap. Many of these communities lack access to water and soap, or as you see these people are disabled or they're elderly, they cannot do that themselves, and so they need people to help them. For treatment, there is no well-known and effective treatment available in these communities, and in their desperation, people will cut the fleas out of their feet using non-sterile instruments like thorns, which they just pull off bushes, and of course that causes more problems and more pain for them. And so in Kenya there is a product which is being used widely, it's actually a disinfectant, it's potassium permanganate, which is actually a hazardous chemical. It causes a lot of irritation and pain when the children are being treated, and in fact there has been one clinical trial using it for tungiasis, and it only killed about 40% of the fleas, so there's still no good treatment available. Last year I was been working on a clinical trial myself, which was using a herbal medicine that I found being used very successfully in a community of people living along the coast in Kenya. The product is mostly using neem and coconut oils, both of which come from trees which grow widely along the coast of Kenya, and in that study what we found is that although within the one-week trial period it didn't kill any more fleas than the potassium permanganate, but it actually caused the fleas to rapidly age, we saw a change in their development, so we feel that had the study been able to go on for a little bit longer, we would have seen all of those fleas were dead and the product would look much better than the potassium permanganate, but even as it is it caused less pathology, it improved pathology, and it caused a reduction in pain that the children were feeling, so we feel it's a much better product, people can use it themselves because it's not toxic, we can give it to families and they can keep using it regularly whenever they get re-infected. Well there's very few people working on tongueiasis, it is a very neglected tropical disease and less than 20 people probably work on the disease, so within the last five to ten years there's only been a few small studies but I think the most important study that's been done was again a couple of clinical trials actually based using a silicon oil, there's a product which is sold in the developed world for treating headlice, which is based on silicon oils, it's called NIDA NYDA and that product has been shown in these two trials to be very very effective to kill the fleas, so we're very excited about that as well and it's being pursued with the manufacturer to get it registered in endemic countries now and then to build up into a very large scale trial. This is a very important disease because it causes so much pain and suffering for the people who are affected and there are very many people infected within Kenya alone the government estimates that there are two million people with tongueiasis at the moment and we really but there are still such gaps in the knowledge of what we know about the disease and how to control it and so we need funding to be able to do large-scale surveys to map it, find out how many people are affected, where they live, why some people in one village compared to the next-door village have jiggers and those ones do not and also to find out what are the conditions which enabled those fleas to develop within the soil. Well the research that I do is very applied, it's all targeted on developing and understanding the ways to control the disease and developing interventions to control it. So we work very closely with communities right from the start and working with policy makers so that as we design our studies they can be very quickly translated into policy to control the disease at the national level.


I came today with books, and so I'm actually going to start off with some reading. I arrived with this, Why Does Patriarchy Persist? by Carol Gilligan and Naomi Snyder, and it's based on a talk, a conversation that they had at NYU, which was so profound and so important that they were asked if they would please publish it, and they did. And sometimes you can just get stuck in the introduction, and it's quite remarkable. So I'm going to read this because I think, for me, this has targeted something that I haven't heard anybody else discuss, and I think it's really relevant to our conversation today. Because part of the reason we're looking at what we're looking at is because we live in a patriarchal world, in a patriarchal country. So she writes, our work began with a question, does patriarchy persist not only because those in positions of power are loathed to give up their privilege, but also because it has a psychological function. And I wrote immediately, what means psychological function? And she says, by requiring a sacrifice of love for the sake of hierarchy, and then she says, think of Abraham commanding God to sacrifice his son Isaac. Patriarchy steals us against the vulnerability of loving, and by doing so becomes a defense against loss. In this slide, we suggest that forces outside our awareness may be driving a politics that otherwise appears inexplicable to many people. This understanding then implies that psychological dynamics also may drive the backlash against any progress towards equality. Any dismantling of patriarchy poses a threat, not simply to status and power, but to psychological defenses that protect us from what have become some of our deepest fears and most shameful desires. And I find this really profound and an enormously important point, and I think it raises the question and the issues about why is it that we're stuck, and it brings up something that I certainly hadn't thought of, and I don't know who else has. Many of you may remember that Carol Gilligan wrote that very groundbreaking book in 1982 called In a Different Voice. It's hard to imagine that 1982, I guess the older you get doesn't feel like it was that long ago, but at the time it was a revolutionary book and made an enormous change in the educational system of this country and I think around the world. And I think that Gilligan addressing the question of patriarchy with the same psychological lens as she did over 30 years ago is a lucid analysis of why there is patriarchy persisting. And it's not a power play but it may be a human psychological dynamic. So I think today's discussion we're focused on abortion and the current attacks on our laws and against women and if we're following Gilligan's thesis, it's embedded in a patriarchal power system that overrides women's rights, bulldozing our lives in overtly and covertly undermining ways women in always due to a psychological reaction. And in order then to overthrow it we have to change our psychology, which is a whole new challenge. First recognizing it and then working to change it. So I hope that that gives you all here some food for thought and those who are watching our video at any given time. We are here now in the present doing this but if you are watching this you could be watching this a month from now, two months from now, six months from now and it may indeed still be relevant. So until we have ferreted out what we face we will face it over and over again with the same heavy hands, both metaphorical and literal against our minds and our bodies. I have asked here at the Elizabeth A. Sackler Center for Feminist Art why on earth we are surprised by the inequalities and obstacles we face given that we are living in this world and we have now been provided with I think a new insight. And I think we are at war, which I'm sorry to say. There are gloved hands destroying swaths of our population, women, children and people of color. And we are facing a control and an invasion of privacy in our lives that we really haven't known quite like before. So I'm very grateful Clara to you and Rachel to you for your cold arms. They're here to remind us of how we survived in the past and what we have to demand to control our lives in the present for our choices. When my children were young one of the first things I always taught them was that the most important part, thing that they had to learn was about options and that freedoms are directly tied to options and options and choices. And the more options and choices we have, the more freedom we have. And without options and without choices, our lives become more and more limited. And I think that we are witnessing that very profoundly at this time. And pregnancy and childbirth fall under that rubric and so here we are with choice. And I just wanted to read, I have Gloria's book here, My Life on the Road. And I quickly want to read to you her dedication. This book is dedicated to Dr. John Sharp of London who in 1957, a decade before physicians in England could legally perform an abortion for any reason other than the health of a woman, took the considerable risk of referring for an abortion a 22 year old American on her way to India. That was Gloria. Knowing only that she had broken an engagement at home to seek an unknown fate, he said, quote, you must promise me two things. First, you will not tell anyone my name. And second, you will do what you want to do with your life. She writes, Dear Dr. Sharp, I believe who knew the law was unjust would not mind if I say his name so long after his death. I've done the best I could with my life and this book is for you. And I think we can probably all agree that the, what Gloria Steinham has done with her life has changed our lives and our daughters and son's lives and those after them. So that was Gloria's choice and I'm grateful to her for it. It's a pleasure to introduce my speakers to you today and Clara Bingham is a journalist, author and documentary film producer whose work is focused on social justice and women's issues. Her most recent book, Witness to the Revolution, Radicals, Resisters, Vets, Hippies and the Year, America Lost Its Mind and Found Its Soul, was published by Random House in 2016. Before she began working on Witness, Bingham produced a documentary that exposed the ravages of mountaintop removal coal mining in Appalachia. The Last Mountain premiered at the Sundance Film Festival in 2011, screened in theaters in over 60 cities and won the International Documentary Association Parry Lorenz Award. Bingham's second book, Class Action, a landmark case that changed sexual harassment law, which she co-wrote with Laura Leedy Gainsler, was adapted into the 2000 feature film North Country. I didn't realize that and I did see that movie. It's a marvelous, marvelous movie if you haven't seen it. It's starring Charlize Theron and Frances McDormand, who I think received Oscar nominated for their roles in that film. Class Action tells the harrowing story of a group of female, is it Tachanite? Tachanite minors in northern Minnesota who became the first women to ever sue a company as a class action or groups for sexual harassment. It's a really riveting story. So Bingham is also the author of Women on the Hill, Challenging the Culture of Congress, which chronicles the lives of four female members of the 103rd Congress following the 1992 year of the women elections. As a Washington D.C. correspondent for Newsweek from 89 to 93, Bingham covered the George H.W. Bush White House leading up to and during the 92 presidential election. Her freelance writing has appeared in many publications, including Vanity Fair, The Hub, The Guardian, The Daily Beast, Ms. and United Press International. Her article, Codenames and Secret Lives, how a radical underground network helped get abortions before they were legal, was published in April of this year. And is the reason for this program, because Clara wrote to me and said here, I have written this and I read it and I said, oh my God, we've got to do a program. So I'm delighted, Clara, that you're here. You can go online to Vanity Fair and you will see the article. Rachel Carey is a writer, director and filmmaker based in New York area. Her first feature film as writer-director, Ask for Jane, starring Cody Horn, Kate Cortellou, Sara Steele, Sara Ramos, Ben Rappaport and Allison Wright will be premiering at festivals in fall 2018. She started her film career for Artisan Entertainment as a casting assistant on projects for Good Machine, The Indie Powerhouse. After receiving an MFA in film directing from NYU, she worked as an assistant editor, wrote and directed a couple of plays and also wrote a novel, Debt, which was published by Silverbridge Press in 2013. An option to be turned into a TV series. Other recent projects include writing and directing the one hour dramatic TV pilot takers, which screened at several film festivals including the series feast and the Hoboken Film Festival. She's a member of New York women in film and television and of the NYC theater community. And if you have an opportunity, Ask for Jane is the film that has brought us here today in coordination with the radical underground abortion network that Clara has written about. And it's going to be wonderful to hear the two of you talk about how you came to what you've done. And I'm going to turn the mic over now to Rachel. Thank you. Thank you very much and thank you everybody for being here. Thank you so much to Elizabeth. So I directed a film, Ask for Jane, and I'm going to give you the story of it and then show you guys a few clips from it. And then Clara and I will have a discussion because her article is about the same group. So in 2016 I work as part of a theater company in New York and one of the actresses had seen, I believe there's a documentary called She's Beautiful when She's Angry, which is about the history of feminism and had a two minute section on the Jane collective as they are sometimes called, although they didn't call themselves that, which was a group of women in the late 60s in Chicago who ran an underground abortion network where they helped women get abortions illegally. And ultimately learned how to do the procedure themselves. There had never been a narrative film about this and Kate thought there should be one and she wanted to act in it. And she asked me to write the film and we raised money and shot it. At the time when we started in May 2016, it seemed like an interesting historical piece because Hillary was going to win the election. And we weren't especially concerned early on about how much things would shift in the ensuing years. But what I have is we are now in, we did a long festival run. I think we played at 14 or 15 festivals and we are now in the sort of mid stages of a small theatrical distribution. We played a couple of theaters in New York and we're opening in LA. So that's sort of where the film is right now. But what I have is a few clips provided by our distributors. So I think they all have come see the movie on them, but they're each about a minute long. Just to give you a flavor for the way we tried to sort of build out the world. A lot of the focus of the film was just on what the time period was like for women and why this was necessary. And I'm happy to talk more about the group itself, as I'm sure Clara is too, because they're fascinating women. And we were lucky enough to have one of them consult on our film and she spoke to a lot of them too. So I want to take over the sex education program, update it. Clearly our kids aren't getting the basic information that they need. Such as what exactly? What basic information does someone need at 15? Birth control?  No, we don't know that she was pregnant. Her friend said... I know what her friend said. I also know that Sister Ann Marie has been doing our health education program for 30 years. And at all that time, we have not had one complaint from a parent, not one complaint. So the first thing Sister Ann Marie does is to separate the boys from the girls. And then she talks to the girls about how they have to protect their virtue so they can save the boys' souls. And then just moves on to cleanliness during your period. It just makes me crazy. You should just hide a pamphlet about birth control in the school library. It's hard enough hiding you. What do you think? Well, I think it's illegal. You could lose your job? Yeah. I mean, if I walk around asking everyone for the name of a good abortion doctor. Right. So, does that mean you don't want to help them? Because I want to help them. It's not that I don't want to help. I'm just concerned. Because I had one once when I was 17. And the guy took all the money that I had. And I almost died from the infection. And now I don't know if I can even have kids. And I don't know if I even want kids. But that guy took that from me, you know? You're Jane? Both are. You're both Jane. I'm not comfortable with the idea that you're going to use me so you can go out and get pregnant. No, no, no. It's not for us. Abortion is a serious procedure and it's a crime. I mean, why would you look for a doctor before you got pregnant? So, do you have your medical license? Excuse me? Your medical license? No, I'm the one who interviews the girls. They don't interview me.  We're not planning on getting pregnant. Who is? No one. No one is planning to get an abortion. I've had it with this. Get out. But if someone didn't plan on getting pregnant and their birth control failed, isn't it better if they come in right away instead of trying it at home alone with a coat hanger? Which is why I agree to do these, because I've stitched up women who've almost died.  Yes, but we're just... I take you or I don't, and I charge what I want. It's the way I do things. Then you're not the right person for us. We got 15 calls this week. That's a lot. So, I was thinking instead of me calling them all back, we could divide them up. Each of us could counsel a couple of them and make sure they want to go through with it and set up the appointment. What do we say? 30-year-old mother of four, six weeks pregnant. I got a 20-year-old college student three weeks. Yours is easier. Maybe. What do I say to a mother of four?  I don't know. I hate phone calls to strangers. Donna, just do it. Yes, go. I'm not good at this. Stop. It's lunchtime, sweetheart. Hello? Hi. This is Jane calling. Hello? Well, maybe it wasn't a good time.  Please call back. Please call back. This is Jane from Women's Liberation. Oh, thank God. Yeah, I know. I was nervous to call to you. I'm just starting this. You know, we're here to listen. So I can give you details about the procedure? I just, I can't. Can't what? I can't have another kid. Yeah, I understand. So that's sort of an introduction to the way that we covered this particular group. But I think Clara can probably talk more about some of it. And I can talk as well about sort of the reality of how they actually operated a little bit as well.  And it's an example of how there are so many, there were, Jane had so many different clients. And I interviewed seven women who were, they called themselves Janes. And one of them was a woman named Martha Scott who had five children, one of whom had special needs and she got pregnant. And she called Jane.  So this was just their code name. And then there was this one number with an answering machine. And then everyone would take the, they had great names for each other. So there was the callback Jane and they, everyone, there was a real hierarchy. And anyway, Martha Scott called Jane. She received a safe abortion from this service. At that point they were still working with a doctor. And she eventually right after this happened started working. And this happened a lot of times that the women who would have the abortions through Jane would be so kind of revolutionized. I mean, they really were radicalized by the experience. So we can just dial back because I'm interested at Rachel and why you took on this project and how it came about and how you researched for it. Because what I was amazed by was how really accurate it was. And there is a wonderful cameo with one of the Janes, a woman named Judith Arcana in one of the scenes.  So I think she was probably your secret weapon. But tell us how you made this film. So we started with a little Kickstarter and funding campaign. And then Judith Arcana, who was one of the Janes, who was very active in the group, found us and set us right on a lot of stuff. But to go back to why I decided to make it, I think I was fascinated by the story, but I was also fascinated as Kate was who worked with me and putting it together on why we hadn't heard about it. The Janes, I think, performed over 10,000 abortions in the late 60s and were arrested. Seven of them were arrested were known as the Abortion Seven, one of whom was Judith Arcana, who came on. And had this big, high-profile case, and we were sort of astonished that we didn't know the story. And there was the documentary. There's a pretty good one from the 90s. But I think we thought it should be a narrative film because that would be a way to tell this story. And the other reason, and get it to more people, the other reason I think I was excited was because it's not horribly depressing. And I feel like a lot of, even the tone of some of the clips, there were funny parts in the movie. You know, I think a lot of pre-Rovie Wade stories are so dark, and the films that are made are so dark that it's a little bit grim, sort of watching them. And to me, this group of women was a kind of like a hopeful way to get into a dark subject. Not to say our film is Schindler's List, but like the Schindler's List approach where you find this one little hopeful story and you kind of follow it through so you can talk about all this darker stuff without it being unwatchably sad the whole time. I think that was something that appealed to me, too, about telling it. So we made this fundraiser and then Judith came on and read our script and set us right about a lot of things, and she's really very, very cool. And so we'd done research before that, but I think the reason it was accurate was partly because of her and partly because I tried to shoehorn as many real stories in as I could into the script in various characters. Let that we just tell you guys just briefly what Jane was. So it was started actually in 1966 by a woman named Heather Booth who was at the University of Chicago and she was a civil rights activist and a member of SNCC and a member of SDS and was very, very political and she was a very political, well-known person on campus at Chicago, UChicago. And a friend of hers from the civil rights movement called her and told her that his little sister was pregnant and could she help her get an abortion? And Heather, at the time, was not involved in women's issues. In fact, the feminist movement had barely existed in 1966. But I think just because she was an activist, this person approached her and she found a movement doctor. He was a former civil rights, he was a black civil rights activist in the south side of Chicago and he agreed to perform the abortion and it was $500 in 1966 money, which is a lot of money, it's almost about $1,000. Now, and so she suddenly, once this one case occurred and it was safe, her phone started ringing off the hook and she realized she needed to come up with a code name so she invented Jane and just would kind of field the calls and get to this doctor whenever she could and in about 1967, a woman named Marjorie Tobankin who was also an SDS activist at the University of Wisconsin in Madison got the same request, a young girl from Madison needed an abortion, did she know anyone and she had heard about this Jane woman and so she called the number and found Heather Booth and raised money for the girl to go take a bus up to Chicago and have a safe abortion. So that was sort of the early days of Jane and then when it started snowballing, Heather Booth got married, had children, was in grad school and could not field all these calls and so in 1969, she handed it over to a group of Chicago feminists and they created a bigger organization that was totally underground and they kept the code name Jane, they were able to get an answering machine which was very early, it was some huge thing, the size of a big suitcase and they started recruiting, they had about 20 women at a time working for them and they started advertising and the numbers just skyrocketed and they found different doctors, I love the interviews with the doctors, that's the kind of thing that's so great about having a narrative film about this because there's no footage of what those bizarre interviews were like at that time in 1969, only 7% of doctors were women and so what I was fascinated by with this story is the context and it's so hard for I was born in 1963, I can't even imagine what it was like to have no female doctors to have abortion be illegal, the level of patriarchy was so entrenched and extreme that everyone took it for granted really but so these women eventually hired a doctor who became their regular doctor and he performed sort of for the first year and a half, 69, maybe around 71, almost all the abortions and they were almost 20 a day, three days a week, there was an underground, it was like an underground railway of women coming from all over the Midwest and a lot of college students at the Marjory Tobank and University of Wisconsin they were in colleges all over that area and the word got out and the volume increased and then there was a moment of truth when they learned that this doctor was in fact not a doctor he had never gone to medical school and he had been trained by the mob because for a long time the mafia conducted an illegal abortion ring and so he had been trained he was conducting perfectly safe DNC procedures and so the women pressured him into teaching them how to do this and so they had always been assisting and their other amazing thing about this service is the interface with the doctors was so horrific women were getting robbed, raped they were just completely vulnerable to these doctors and so they wanted to make this a female-centric experience so the women were completely briefed on exactly what the medical procedure was their hand was held during the procedure they were brought to a nice living room they would rotate from different people's houses and have a place where they would call the place where they would pick you up and then take you by zigzag car in case they were being followed by the FBI to the location where the abortions took place it was all very elaborate but it was all about making the women feel empowered themselves so that this wasn't a humiliating experience and that's why it was so empowering for women like Martha Scott, they had an abortion through Jane and they were immediately, I want to sign me up but they learned and so eventually about six women were performing abortions and ultimately between 1969 and 1973 they performed they think they had an idea because of course all the records were destroyed around 11,000 it just gives you a sense of the need and the volume and then they were busted in 1972 they became known as the abortion 7 and then waited and waited for trial while Sarah Weddington was arguing Roe v. Wade in front of the Supreme Court and so their lawyer knew that if Roe v. Wade was made law these women would get off the hook and that's exactly what happened so January of 1973 Roe v. Wade became the law of the land and the charges were dropped so it was very dangerous because they were facing about ten years of jail each one of them and most of them had children that's the other thing is that the right wing likes to make abortion like it's something for irresponsible young women who just are selfish and don't want to have children and I think many of the women who they helped were already mothers and just could not manage having more children I think the statistic remains the same on that it's more than half our mothers right now and then meanwhile no one has the statistics on exactly how many illegal abortions were provided before Roe v. Wade and how many deaths there were but it's somewhere between 200,000 and a million 200,000 abortions per year were performed illegally and most big city hospitals the one in Chicago certainly had this had special wards for women who were suffering from complications from illegal abortions and so it was you were taking your life in your own hands to go get an illegal abortion and many women died you know had just like the case that you showed in the film had or had severe infections became infertile it was just a really dangerous thing to do so the Jane helped women feel safe and the fact that the women could then learn how to do the abortions themselves which actually isn't that complicated a procedure and one woman Alice Fox who I interviewed after that became a a gynecological nurse for the rest of her life it changed all their lives and was very politicizing most of them weren't even feminists when they signed up but they suddenly understood which is an interesting thing and this happened with Gloria Steinem too that abortion was not a private issue that it was actually a political issue and Gloria Steinem's story is kind of amazing in 1957 was a journalist and then suddenly abortion became an issue and she went and covered the first abortion speak out in 1969 here in New York City and all these women got up and told their personal stories and she suddenly realized that she wasn't alone and that this was really this was a galvanizing political issue that really was the fuel behind the second wave feminist movement and she wrote about it in New York magazine and that was it that was her conversion moment where she went from being a feminist I mean from being just a journalist to being a really committed feminist advocate so there's so many different angles to all of this and all the women in your all the actors were very young obviously because they were playing all these women in real life in their early 20s what was it like for them and teaching them too what kind of how to portray this era I think I wanted fairly young actors for some of the roles because I thought we sort of forget that in the 70s it wasn't uncommon for people to you know get married at 20 and a lot of the women were younger or college age who got started although not all of them I don't think we had any trouble getting people interested in doing the film I think a lot of the young actresses were very excited about acting but I think it was really interesting for them to think about and that's certainly a response we've gotten in terms of screening it as people really don't aren't aware of some of the dynamics that were going on and so they were talking to Judith when she was on set about how it was and getting that sort of context how your screenings did you have talk backs afterwards and were they revealing in any way they were it was very different than a typical I always joke a typical film festival screening as people go how many shoot days was this they asked about these very technical what was your camera and this time it was like in 1967 I got an illegal abortion you know there were a lot of very personal stories that came out which was gratifying because I think it was it was important to people to see this represented because it was so many people's experience I was thinking one of the more interesting responses from for me personally was my uncle came to a screening in California we were showing at the Napa Valley Film Festival and he lives near there he had this odd response because this was exactly his generation and he was like it made me he said I spent the whole movie wondering if any women I slept with went through this and I just never heard about it and so for him it was like what this was happening and I found that really striking because he was there and it didn't and he's a fairly liberal guy it wasn't like he was this real conservative he was you know part of social movements but he just didn't think about what could what was actually happening among women having to deal with those circumstances it was sort of invisible to him and so I thought that was one of the more interesting responses I got because even I think even people who lived through it especially men just it didn't process that behind the scenes at a college dorm women were having these kinds of discussions or experiences that were in many cases said really traumatic for them that's well I went to see your opening here in New York with a friend of mine who I've known for 15 years and on the taxi ride home she told me about her abortion that she'd never told me before so I thought that it was clearly it brought it was something she hadn't thought about in a long time and she was 18 when it happened and now she's 55 but it the movie completely opened her up you know to that experience and also how terrifying it would have been for her if she could not have finished her college education if she had to have the baby she now has three children grown children so it was that was my own little personal experience with seeing your film yes we got a lot of sort of I've never told anyone this before right you know so where did you feel tell us though where did you film it we filmed in Brooklyn for Chicago right we couldn't afford to do Chicago we were on a tiny little budget and then I had a little money I was going to have somebody go shoot just sort of B-roll around Chicago and then I looked and I was like I kept looking for like where's quintessentially Chicago but not you know the lake or downtown and and then I kept going it looks kind of like Brooklyn so we ended up just using Brooklyn sort of flat near the water built around the same era so we were shot around here for the most part and how long how what was it it was 24 shoot days which isn't so bad for indie film but it was so many locations and just speaking roles it was we were changing locations you know two times a day or so because there were all these little scenes at various places different houses and houses and rooms and again so that was the challenging part I noticed also you had you threw in a anti-war rally and you know the moment where the girls were having to figure out who were they which side are they on you know are they going to the rally are they going to sort of carve out and start working for women which was didn't seem political at the time but yeah a lot of the stories from that area I put it in but I've heard it from two or three people about you know sort of anti-war rallies where they had women get coffee and so I threw in a reference to that but I've heard that you know from several people that sense of women getting activated because they were just being treated like secretaries at those rallies yeah that Heather Booth it tells an amazing story and it's really how the feminist movement just rose out of the anti-war the civil rights in the anti-war movement and Heather Booth was you know at all these SDS meetings where she wasn't able to bring up any women's issue without being shouted down and realized that after a few years of trying that they were going to have to pull out you know they had to pull out of the sort of mainstream left, new left organizations and do their own thing, the way that the black power movement had done as well and so that the sense of betrayal that all the women who I interviewed had from their comrades and armed these men who they had been in Mississippi with, who they had gone and marched on Pentagon with, where they were fighting for social justice and freedom but these men were completely blind to the fact that they were being so critical about women and so that was why I was interested in Jane because I'm interested in what radicalizes people like when is the moment when you change and you suddenly see your life through a completely different prism and realize oh my god you know this is completely crazy sexist and so Heather Booth was one of the first and she started and along with Arduth Arcana the Chicago Women's Liberation Union which was one of the first women's liberation organizations and was the kind of sort of housed it was the home of Jane unofficial sort of home of Jane and and each story of all the different women who needed Jane who worked for Jane was also a personal conversion story of like understanding who they are and where they are in the hierarchy of the system and for example our bodies ourselves came out in 1970 and now we would look at this book and think oh you know fine there's some illustrations about what happens when you have your period and that's but it was the first time it was published by the Boston women's health collective and it was a completely radical piece of literature and it was stapled together back then and it explained how women's bodies worked it was very basic how you get pregnant all the different kinds of birth control you know every different issue that women might have and with illustrations and it helped women take control of their bodies and so the Jane women had bought it by the hundreds and they had crates of them and handed them out to everybody needed an abortion and that was their way that alone was a very radical thing our bodies ourselves Judith talked about that that was something she corrected in the script I was like oh and they have a copy of the book our bodies ourselves and she's like it wasn't a book it was a pamphlet that we photocopied basically and stapled together at the time which I thought was really interesting and then The Joy of Sex came out in 1972 and that was sort of the sexual version of our bodies ourselves because that too was very graphic about different kinds of ways of having sex and was very open and kind of demystifying of sex and was another sort of empowering important piece of literature for women then and then of course there were the parties with Judith Arcana I remember when I was interviewing Judith Arcana on the phone she said you know it's incredible I was talking to these younger women and they've never seen their own cervix before and I went okay because she's intense went around Chicago and there were other feminists who went across the country having you know groups of women and showing them their cervixes so there were mirror parts there what? mirrors they had mirrors on the floor so that women could squat over the mirrors and look at themselves because that was happening all over the place along with consciousness raising groups that was sort of another way of just you know empowering yourself so the women the Jane women were so brave they were risking their lives every day they were being followed a lot of the cops knew what they were doing and the ironically never did anything about it never prosecuted them because often they were sending in some cases their sisters, their wives their other like the receptionist in the office of the precinct that was near where Jane operated came in for her own abortion so there was a wink and a nod that went on but they were constantly having to move location and very nervous and so when they got busted it was because this the sister law of a woman who went in to get an abortion was very upset that she was doing this and was you know against her having an abortion and so she told she reported Jane to another precinct that was not kind of in the know about what was going on and so they the scene of the bust which I opened my article in Judith Arcana her job at the time was driving the patients basically from the place to the what was it called the places where they would meet the front the front of the place and she was being followed and she you know made her delivery of the woman who got an abortion they were up in a high rise apartment building and and then when she was heading back down she walked out of the elevator into a wall of five Chicago detectives who you know essentially cuffed her right there went back up to the apartment and they were looking they you know busted through the door they were about three women who were pre-abortion or just had had one and a bunch of women in the waiting room and they stormed into the apartment and said where is he you know and they were like who you're talking about you know where's the doctor and so they just didn't when they didn't see a male doctor they didn't really know who to arrest and it was completely confusing to them that there wasn't a male doctor performing all these abortions and ultimately they loaded about eleven women into paddy wagons they had to spend the night in prison and it's Sefer Judith Orkana who was nursing at that point and she had a baby at home and her husband was a lawyer he was able to get her out that night but they that was ironically too after they were arrested and booked and had hired a lawyer and were awaiting trial everyone kept on performing all the abortions they literally they stopped for about two weeks and then the women who had been arrested did not do any but everyone else did so they just kept on going just because the need was so enormous and so New York legalized abortion in April of 1970 and when that happened their demographics of who they were taking care of changed because anyone who was rich could fly to New York and there were places where you get pretty cheap abortions in New York and then fly back but if you didn't have the money if you had A. you didn't have the money or you were young or you had children at home and you couldn't get away then you were still stranded it wasn't that helpful and that's what women are facing now if you live in one of the seven states that only have one abortion clinic you have to drive in Kentucky from all the way from Appalachia to Louisville for example and then somehow find a place to spend the night so the issue of access was important in 1970 because there were a few states where it was legal but very few women could get there and so Jane was still just as busy as they were before abortion was legalized in New York and the economic disparity too of rich women like Gloria Steinem and my mother who later told me she had gone to London twice would go to London, Puerto Rico there were Mexico there were like specific places where you just fly out of the country everyone from New York I spoke to said why didn't you talk about Puerto Rico that's where we all went and I was like it was a Chicago movie they went to the mob but it was the regionally that was operating and then I think now there are networks now that are actively bringing women to places states where they can that's already in play to an extent and networks that are funding travel the overnight so that women can travel because it really now today as it was back then it's really a class issue it's interesting because they're kind of they're quiet and I don't know the name I know there's at least one listed on our website that does transit from states to states on askforjane.com it's askforjane.com I'm trying to remember I don't want to get the name wrong but I know I know there is at least one that sort of basically runs a sort of railroad service for women who need to go out of state now it looks like Missouri will be on that list too unfortunately but yeah they're operating as well as to a degree there are women learning to perform it themselves in some of those areas but that's a lot more under the radar so that would be something we wouldn't in fact Jane was very under the radar there was one book written about it by Laura Kaplan she changed all the names and that was published in 1995 and then very little was written about it and when I wrote my book Witness to the Revolution I interviewed Heather Booth and Marge Tobanken about other things about their anti-war activity and they both told me about Jane and so I wrote about Jane in my book Witness to the Revolution and in fact Marjorie Tobanken and Heather Booth later became fast friends and only about 10 years into their friendship because they were activists for the rest of their lives did they discover that they talked on the phone back in 1967 and were referring each other because they didn't know each other's real names so I thought that was an amazing little moment but wait where were we sorry the movie deals with this a little bit but it was at least half black women by the end it started with this sort of white women in college primarily white women not exclusively and by the end it was at least 50% black women in the Chicago network because just the socioeconomics of it that's the way it played out and there were few to no black Jane's for most of the time they were operating although there were a couple toward the end I think as far as Judith remembered it so it was the dynamic but I think that's exactly what we're seeing now in many ways it's just a financial question for a lot of people and also I think because we're so far away from the women's liberation movement and women have come so far that it almost seems to have caught us by surprise that states like Alabama Missouri and Ohio we'd be passing these banning abortion or passing fetal heartbeat bills which is essentially banning abortion and that there would be seven states with only one clinic that's happened very surreptitiously because the movement really wasn't very evolved I think there was a sense of women resting on their laurels and Hillary was going to be president and the second Trump was elected and then these laws started bubbling up I think it's completely re-energized the women's movement and we now realize how asleep at the wheel we've been to let these state laws come into place and it took years and years of making sure that they had 100% Republican legislators and governors so that they could roll so many bills through so I think it has re-energized and that's why I wanted to write about Jane because it was an example of what you can do if you need to take the law into your own hands and how important it is to understand that abortion is a human right that women can have absolutely no freedom really if they don't have reproductive freedom and it's just so hard for us to imagine what it would be like to not have reproductive freedom Any questions? Yes? First of all thank you so much for being here with us today I'm curious I haven't seen a full film yet but I remember one in the earlier clips that you showed the main character with early terror was saying something along the lines hiding the other woman whom she was working with and so I was curious like A what the dynamic with them is that also got me to thinking about kind of more equality you spoke about how so many women from anti-war movements were then energized and working at work or related feminist work because they were sidelined in these other movements and I'm curious the space of queer women with Jane were there alliances there statistically if you know how many queer folks were involved or how those movements for queer liberation might have intercepted or with the ones for you Yeah they're romantically involved They were lovers and they lived together and they lived together but I don't know the statistics I'm sure that there were a number of queer women I don't know the statistics on the percentage Yeah I don't either but what I do know and Elizabeth can probably speak to this well was when the movement first started with now and Betty Friedan it was straight and when about 1970-71 there was a real sense that queer women were discriminated against by the movement and it was sort of the whole issue but do you want to just make change in a moderate way and not turn people off or do you want to just allow women to everybody in the movement to be who they want to be and so there was a a rift in the movement between straight and gay and that caused a lot of controversy for a while Can you speak to that at all? I don't know how much I can speak to well I can First of all it gets my eye when Betty Friedan is pinpointed as somehow having been a very important person in the women's liberation movement in the women's movement Betty Friedan was a woman who lived in the suburbs and women who lived in the suburbs were very different from women even white women or Jewish women who lived in urban areas the experience of Friedan was decidedly different not only from people of different economic and racial backgrounds but also people who are of the same as in white and Jewish who were living in urban areas so her book was just a very small slice of women who were I don't know if you're all much younger but there was Father Knows Best and there was Father Knows Best Margaret I'm home Margaret I'm home and there's Margaret with her apron and the kids that's not what was going on for women in urban areas that simply wasn't happening so I think I think one glorious speech to this so eloquently always because the movement itself once women had to separate out from SNCC and from the SDS movement and realize that they needed to come together as women and put together their movement that was spread across racial and economic lines that was not a white woman's movement those were women of all strikes coming together isn't that correct do you want to add anything to that please I see what you're trying to convey to young people about Ben and her dad's place in the middle of the movement she was very important in one sense but she was not inclusive she didn't care about people war and welfare she didn't care about in fact she bought to have those people to not get involved with them because she thought of their movement her movement was a bourbon white women's movement to include women's color lesbians and other she her focus was now which I think is where the same thing and it's very important for inclusive and it's important because history is being rewritten as though Betty Friedan was really the person in this movement and was leading this movement and we really have to in fact newspapers even now are citing other newspaper articles where somebody has cited Ben for them so if you really go back into it it's not where the women's movement started it was very inclusive and very broad and you're called out of that it's certainly evolved out of that it's more inclusive and democratic well there was a group called the Lavender Menace who were queer women rebelling against the Friedanites and the now moderate who were afraid that if women were open about their sexuality would turn off all the men and that they would be considered, you know, feminists would be considered man haters and that would really hurt the movement so that was the the dynamic I think lesbians and queer women were suffering as men were as male homosexuals were at that time but they were suffering inside the women's movement which is why it was so men were suffering inside the men's movements I mean, you take a look at the exhibition that's up and you see what men were suffering from 50 years ago and how far that's come and in many ways it's so interesting, I just finished a book by Sarah Headspin which is it looks at life and time in a way that we don't normally think about which is to say that the past is always in the present the future is always in the present and we forget that we think that past is past and the future is going to be the future but we are living in a discussion we're having now is all about past which really now is in the present not just because of what we're facing in so to speak but it's relevant it is in the moment and I think that it's really important these new ideas that are coming out about psychology about the way in which we perceive ourselves and our fears of loss the way in which we perceive ourselves in terms of our age and that was then and that was 50 years ago closes us down intellectually and emotionally to being in the moment and determining what it is that we have to do in the moment I was wondering quick both of you who have been dealing with this and who are younger feel about with lowly waiting threatened of what you feel can be done to let younger people know that the past is becoming the present and that that could be the future because I've heard so many people say it's inconceivable to them that abortion will be illegal but how do you convince them that it could become illegal and they have to fight it that's why I wrote my article when the second abortion did look like it was being threatened in different states I remembered Jane and having written about it back in 2016 and I thought wow I want to get more I think history and telling history can be a very politically charged thing to do I kind of see my role as a storyteller and oh for sure that was a big reason I made the film but it's interesting too we've had a number of screenings with Andrea Millier who's a super cool lady who's the head of the National Institute for Reproductive Health and she's pointed out that there's something like over a hundred small laws that have been past restricting abortion over the last couple of decades it's like the death by a thousand cuts I think one of the things when Clara talked about how it's like we've sort of the movement has been a little passive on that issue is because they're these tiny little laws in far away states from many people's perspective and I think that hopefully I think we're trying to activate people to, ideally it's not just thinking about Roe v Wade but about arguing all of those cases what they all represent and why it's important when some little rollback is made because essentially that's the approach that people have been taking on this issue the sort of anti-abortion people it's been these small moves that won't track and that add up to something because if Roe v Wade is overturned it may not be overturned it may go to the states and then New Yorkers may be fine and I think that's dangerous you know what I mean it's going to be it's going to be about speaking up for wherever it's happening which is something we can do now without waiting for that one move to be made it feels like we're all sitting and waiting on the Supreme Court when in many places they're finding ways to make it effectively illegal before that changes and I think that's something and just get involved and participate with Planned Parenthood and the other abortion rights groups and get out there and protest and organize and realize that we've got a war on our hands there has not been a Me Too movement for abortion I mean the Me Too movement which started before the hashtag Me Too has opened up the opportunities for women to speak about their experiences women are still hesitant to talk about abortions yeah it's much harder to talk it's it has now the same shame that rape and incest and other things that Me Too had before the Me Too movement women spoke of and we need to have that trigger that has got to change people have to say okay I have had an abortion and not feel that people are looking down right it can't be taboo speak out it's radicalized that's what really energized the movement in 69 was everyone started having speakouts where they would talk about their own abortions and just that act of having speakouts there have been a few of those online in chat rooms where women have come forward talking but I think the more it is made public in public forums and is no longer a taboo subject but a more powerful it can be I know on abortion one of the concerning things is that at the time I think the law really targeted the doctors whoever was doing the procedure was who they went after and the rhetoric is sort of shifting toward targeting women as well which even at the time in 1970 that wasn't who they were going after primarily and I think that's made it potentially riskier in some ways now in terms of who they're going to go after when it's illegal well thank you all for coming and thank you Elizabeth for having us and thank you Rachel thank you both and I do encourage you all to read Clara's article on Vanity Fair's online and to have an opportunity to see a call ask for Jane I saw it actually when it was playing in an art theater out in Santa Fe when I was out there I wasn't unable to make the screening when it was here in New York and it was a full house and it is a very emotionally moving film and I want to thank you very much for directing it you know it's interesting you were talking about the budget and it being a low budget film there's something about the grittiness of a low budget film if you don't mind my saying that I don't mean it in a condescending way it's not slick like a Hollywood film so as a result there's a realness to it authenticity to it and that is a very powerful thing and I think we are facing a moment where conversations and authenticity are pretty essential if we're going to keep things moving so thank you both very much and thank you all for joining us today