Nan Goldin, Laura Poitras, thank you. I still remember my teammates' disappointment when I failed to live up to the expectation that my Blackness would make me automatically good at sports. Laura Poitras directed the film. They just took the most salacious crap about how much Brady despised Belichick and how mutual the feeling was, and ran with it as Gospel truth. Later, during COVID, there was a bankruptcy case where the Sacklers had shed their company of all the money and put it offshore, like $10 million - $10 billion, excuse me. So, yeah, it just - it simply - the name still would be there today. Why did you stop taking photos? The customers come in with doubt and wonder what I'm all about but leave believing. Exuse me this is my room raw scans. "I never really appreciated the way people would try to do that. Wash away the stain. And then I got - and I met Brian there. Everyone has to do something to push back. It's the most important question on my mind, frankly, was what I'm going to wear. I still hear ignorant comments about my ethnic background, and I've been the victim of racial stereotyping and discrimination at work.
After making films about war, the release of secret government documents, why did you want to make a film about Nan Goldin? I was told my hair was "not normal, " so my mother straightened it with harsh chemicals. And 77 of the greatest living artists signed it. And I felt that was where I should focus. There were moments that were, you know, never intolerable.
They're the culprits. And Belichick echoes those same heartfelt sentiments: "I learned so much from Tom because, as you know, I never played quarterback and I never saw the game through the quarterback's eyes. And I felt that it was important to photograph myself doing the same things that I photographed other people doing. Or... GOLDIN: No, I hope to be dressed by a brand like Chanel or Prada. And congratulations on the Oscar nomination. Excuse me this is my room raw manhwa. GROSS: So as part of the bankruptcy process, legally, a federal judge required the Sackler family to listen to testimony from people who had either become addicted to OxyContin or who had loved ones who were, and some of them had lost their loved ones to overdoses. And after I got battered, I was scared to be around men in that way. That's genuine raw emotion. And every word of this is exactly how I've imagined it to be.
You simply cannot have the degree of success they achieved together over an impossibly long time if you don't have the level of mutual respect and admiration they enjoy. The Sackler family owned Purdue Pharma, which manufactured OxyContin and marketed it with deceptive practices that helped lead to the opioid epidemic. And she hired both women that had been in the sex trade and eventually women from downtown, artists. To help his post-playing career? Not always, but I try to - the right to take their work out. Was it Barbara who told you? People came from the New York Review of Books because she cooked amazing lunches. GOLDIN: It was run by an incredible woman who was also very political. GROSS: So this has been a pretty heavy conversation, talking about, you know, very personal and very political subjects. Sure sounds like a bitter, resentful, discontented taskmaster who hates the best player he's ever been associated with alright. All the Beauty and the Bloodshed' chronicles Nan Goldin's art and activism : Shots - Health News. And it really wasn't until Nan and P. N. started doing these actions that it sort of crystallized. I don't think we ever felt like that with each other. But there were so many of them. I think they're emblematic of my struggle with mortality.
This gets to some of the trauma of your childhood. They had interpersonal disagreements like every great partnership does, but they never were at odds. And generally, I've tried to maintain that right to all the people I photograph over 50 years. I mean, I was just - somebody of her position in the art world using her power in this way to call for accountability, for me was, you know, very in line with my previous work. I will never forget the day we were instructed to draw portraits. He's about 18 months away from collecting $35 million a year of Foxbucks. And it was really the only place you could eat in Times Square at that time. And then, there was the period in the '80s when people were using appropriated images. SOUNDBITE OF BRIAN ENO AND JOHN CALE'S "SPINNING AWAY"). GROSS: Well, describe them. Also with us is the film's director, Laura Poitras. Excuse me this is my room manhwasmut. We were after sexy actions that the media would love. Because I respected the commitment he was trying to make to get our team to win. And I took pictures every day and took them to a drugstore and brought back snapshots and collected piles of snapshots, which some of the times they ripped them up if they didn't like them.
GOLDIN: But even though I'm an artist, I can't take credit that I design these actions. SOUNDBITE OF PATTI SMITH SONG, "SMELLS LIKE TEEN SPIRIT"). The authoritative record of NPR's programming is the audio record. GROSS: And she had been sexually - you found this out later, I think, that she had been sexually abused as a early teen? You weren't born yet at the time, but you found out about that. It's a miracle Brady didn't jump ship out of Foxboro the first chance he got, as soon as his rookie contract was up. Undiagnosed ADHD in high school meant I rushed through assignments, crammed for tests, and often lost my schoolwork. She captured intimacy and despair. Congratulations on it. The way in which she redefined, I think, storytelling with images both within the frame, there's just this sense of mise en scene, the lighting, the sense of characters. It's 35 different film segments of films. Nan, you were one of the people who testified directly to the Sacklers.
GROSS: I'm curious, like, what you wanted from the bar and what... GOLDIN: The bar became my life. Updated on February 7, 2023. GROSS: Did you bring your camera to the bar? Your readership and support help make our content and outreach possible. And if so, what are you going to wear, because it's a ceremony where, you know, so many people show up in these, like, fabulous gowns made by, you know, famous designers?
GOLDIN:.. - this was a - this is a group I started of direct action, and it's true. But they were photos of her friends, people who were considered social outcasts like drag queens and other queer people and people in the underground art and music scene. GROSS: I want to ask you about your sister. Laura came every week during the second round of COVID to interview me about my sister, about AIDS, about my friends, about my politics. Let's just start trying to divide them. And I didn't want to coach. So why did you want to photograph your own healing - your own wounds and your own healing? GROSS: Nan, I want to ask you something else about your early work.