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She also had concluded that she and another experienced woman on her team, Aerica Shimizu Banks, who is Black and Japanese American, were being paid less than what their job descriptions indicated per Pinterest guidelines. Ozoma’s salary disparity—about $64,000 annually—was significant but not as meaningful as the stock grant given every employee based on position, and hers appeared to be 33,675 shares short of what her job description merited. Post-IPO, she says the shares could have amounted to a value close to $2.5 million over a four-year period of vesting. After human resources refused to increase their compensation, they involved a lawyer. The friction, Ozoma believed, caused her white male manager to snipe with statements such as, “Why does everything have to be about race?” Later, Ozoma’s cell-phone number and internal company emails appeared on extremist platforms including 4chan and 8chan following leaks by a white male colleague, a software developer, to Project Veritas, the far-right activist group founded by James O’Keefe. She received threats of rape and death. She kept a gun. She moved.

Released in 1968 and often referred to as Canada’s first music video, The Ballad of Crowfoot was directed by Willie Dunn, a Mi’kmaq/Scottish folk singer and activist who was part of the historic Indian Film Crew, the first all-Indigenous production unit at the NFB.

Well, I've never been attacked ... but I've certainly felt it and I feel it in various different ways. I remember, for example: I live in a community south of Boston and the first time I took my young son to a daycare facility that they had at the local high school ... I thought, 'This is great.' They had a little daycare that was essentially free. And I'll never forget, my son, who I think was about three years old, and he walked up the steps of the high school and students from the upper floors shouting "g---, g---, g---" at myself and more or less, at my son. And I'm sorta somebody who understands the racism and so forth involved. But the impact on my kids and just seeing them do this to my kids — this is the sort of way in which I reflect on these sorts of things.

As the years passed a more or less stable group of musicians developed around him, and his rehearsals become increasingly enigmatic and complex. For one piece he would tell a musician, “You start a four [four-
bar solo]”; then tell another, “You start on the second measure of the first guy’s four.” “It got real mixed up. Sometimes Sun Ra had the whole band soloing; he’d tell the whole band to take four, then there would be two written bars, then the whole band would take four again.”