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AWARDS AND MEDIA

Dr. Kitty Oliver Facebook
journalist Oral Historian and Author

Encore Public Voices Fellowship

The Encore Public Voices Fellowship is a collaboration among The OpEd Project (OEP), a think tank and leadership organization that accelerates the ideas and public impact of underrepresented voices, including women; Encore.org, a nonprofit dedicated to bridging generational divides; and Ann MacDougall (Senior Advisor, Encore.org). The fellowship is part of The OpEd Project’s national Public Voices Fellowship initiative to change who writes history. The fellowship is a prestigious initiative to accelerate the ideas and impact of new and necessary thought leaders, all working at the intersection of aging, longevity, intergenerational connection and social justice.

 

There is a critical need for new voices.

Many parts of the world are rapidly aging. In the U.S., we’ve added more than 30 years to life expectancy in the past century, but not across the board. Whites live longer than people of color. Women live longer than men. And the richest Americans live 10-15 years longer than the poorest. Today, for the first time ever, there are more people over the age of 60 than under the age of 18. The ripple effects of these shifts will affect every aspect of society. We need better and faster ideas from a more diverse set of people of all ages, including those who are most impacted by the uneven implications of these realities, and thus most likely to see new solutions and envision a more just future.

Fellows will receive a full year of support, skills and mentoring to ensure their ideas shape the greater public conversation. Members of the first two groups of fellows have been featured at SWSW, on Good Morning America, and in publications including the New York Times, USA Today, Fast Company, The Washington Post, The Atlantic and more. See this infographic for details about the first 41 fellows and the impact they’ve had.

Members of the fellowship’s Advisory Council include Ellen Goodman (Chair), Sylvia Brown, Mary C. Curtis, Ken Dychtwald, Raymond Jetson, Katie Orenstein, Trabian Shorters and Lester Strong. Here’s a brief introduction to the group. Stay tuned for more ways to get to know each of them in the coming months.

Alison McCrary, Social justice lawyer
Arianna Nassiri, Member, San Francisco Youth Commission
Christopher Tyson, President & CEO, Build Baton Rouge
Ernest Gonzales, Associate Professor, New York University
Frankie Huang, Writer
Dr. Imani Woody, Founder & CEO, Mary’s House for Older Adults, Inc.
Janine Vanderburg, Initiative Director, Changing the Narrative
Jonathan Collie, Co-founder The Age of No Retirement CIC, Creator of The Common Room purpose model
Kasley Killam, Founder of Social Health Labs
Dr. Kitty Oliver, Author and oral historian
Laura Nova, Artist and Associate Professor of Creative Arts and Technology, Bloomfield College
Mistinguette Smith, Principal Consultant at M Smith Consulting and Executive Director at Black/Land Project
Peter Slatin, Founder and President, The Slatin Group LLC, and Co-Founder, Slatin Media Group LLC
Rey Castuciano, Executive Director & Founder, Table Wisdom
Sandra Barnhill, Founder and CEO, Foreverfamily, Inc.
Sasha Johfre, Ph.D. Candidate in Sociology, Stanford University
Serena Bian, Community Strategist, Systems Designer and Neighbor
Sian-Pierre Regis, Director/Producer, Duty Free
Susanne Stadler, Principal, Stadler & Architecture and Executive Director & Co-Founder, At Home With Growing Older
Tim Carpenter, CEO/Founder, EngAGE
Uma Menon, Student and author, Princeton University

The Beatles 8 Days a Week Kitty Oliver

Ron Howard’s Eight Days A Week Film Kitty Oliver. Perhaps the least familiar and most bracing material in “Eight Days a Week,” however, doesn’t concern The Beatles’ artistry at all, but their politics — as in an interlude concerning their contractual refusal to play before racially segregated audiences in Jacksonville, Florida. It’s a stand movingly articulated by African-American historian Kitty Oliver as initiating her first direct social contact with the white population. Meanwhile, Whoopi Goldberg (the most voluble of the film’s game but somewhat randomly selected celebrity interviewees, including Sigourney Weaver and Eddie Izzard) also argues for Beatlemania as something of a cultural bridge in the Civil Rights-riven America of the mid-1960s: “They were colorless, and they were f—ing amazing,” she enthuses. Howard sometimes strains to shoehorn somber social context into otherwise swinging proceedings — a passing observation of JFK’s assassination feels particularly cursory — but these women’s recollections constitute a rare flash of honestly unexpected perspective in an otherwise by-the-book fan valentine.

Ron Howard‘s love affair with The Beatles began at age 10 when he first saw them on “The Ed Sullivan Show” (9 February 1964) (ep: The Ed Sullivan Show: Episode #17.19(1964)). His first fan request was for a Beatle wig.

Eight Days a Week is a respectful retelling of the Beatles’ early tale, but in glorious Technicolor. Howard, whose affection for mid-20th-century history has been well documented with box-office hits like Apollo 13Frost/Nixon and A Beautiful Mind, underwent an exhaustive search to recover long-lost footage, which was then lovingly restored to cinema quality. All assembled, the band’s story takes on the drama and scale of a Biblical epic that’s scarcely believable even half a century later. 

“By the end, it became quite complicated, but at the beginning things were really simple,” says Paul McCartney in voiceover. Simple isn’t always bad. Before they became technical recording masters, the Beatles were, as McCartney often says with charming understatement, “a great little rock & roll band.” Eight Days a Week lets you experience them like never before, and feel the frenzy of those thrilling years that came and went much too fast.

Kitty’s public television and video productions are used widely by schools and libraries She is producer and host of the 10-part series “Crossing Cultures/Changing Lives”, airing on WBEC-TV. In addition, she produces videospodcasts, and blogs on race and ethnic relations and changes across generations. She is a lecturer and workshop leader on creative nonfiction writing techniques and memoir writing, and a professional jazz singer. She conducts community oral history field work and is a member of the Oral History Association.

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