[Danielle Balocca]: 您好听众，这是Danielle。 和雪莱。 雪莱是一位德拉维和种族激进的激进主义者。
[Chelli Keshavan]: 丹妮尔（Danielle）是一家社区家具和变革制造商。 这是梅德福叮咬播客。 每隔两周，我们就会咀嚼梅德福（Medford）面临的问题，并提供有关城市的信息点，从而增加了客人的体验。
[Danielle Balocca]: 在讨论它对梅德福的未来期望的讨论中的独特之处。 和往常一样，告诉我们他喜欢在哪里吃饭。 很好，感谢您今天和我在一起。 如果您可以介绍自己的名字，代词以及您是谁。
[Melanie McLaughlin]: 当然。 让您单击接受您正在录制的内容。 是的，我叫Melanie Perkins McLaughlin，我的代词是她，她。
[Danielle Balocca]: 出色的。 谢谢梅兰妮。 因此，我会问他几次回答的问题，但甚至我们在梅德福（Medford）看到的所有新型餐馆也可能。 但是，您最喜欢在梅德福（Medford）吃饭的地方是什么？ 你喜欢在那里吃什么？
[Melanie McLaughlin]: 好吧，这很有趣，因为我们不出去玩，这很有趣，因为我们不经常出来，而且不是年轻的餐厅之一，但是老实说，我们喜欢西梅德福的Amici。 我必须告诉你 我们非常喜欢Amici的原因之一，除了它的美味披萨和大型的César鸡肉沙拉之外，他们对我们的女儿有智力和发育障碍的女儿Gracie如此包容。 他们只是让Gracie和他们的朋友感觉很好 - 在那儿。 他们总是在和她说话。 她觉得，当您去那里时，这是社区的一部分，这对我们来说是一个很大的优势。
[Danielle Balocca]: 明亮的。 是的，我们喜欢停在那儿，我们知道足球是Playstead，我们希望他们将在一天中有切片。
[Melanie McLaughlin]: 完全。
[Danielle Balocca]: 是的。 我觉得我可能曾经在那里见过您的假期卡。
[Melanie McLaughlin]: 是的，肯定。 我曾经把我的广告系列放在窗口中。 太好了，马里奥。 在我看来，马里奥也是罗伯特·德·尼罗（Robert de Niro）的死钟。 因此，您知道，您的披萨奖励，您会得到一个。 罗伯特·德·尼罗（Robert de Niro）相似。
[Danielle Balocca]: 合法的。 好吧，是的。 您提到，您提到了这一点，所以我也想提一下。 但是，您知道，我认为过去我们会在播客中谈论学校委员会，并且我们只是想确保我们感谢您。 我知道这不是，这不是您目前的角色，但是，您知道，感谢您所做的一切。 我认为，关于他们的角色的很多注意事项是他们对我们社区中最脆弱的孩子的奉献精神。 而且我认为我们今天要谈论的是与您的播客和以前的纪录片Andy Saw的联系？ 因此，是的，希望您继续以不同的方式强调社区孩子的需求，我相信您正在这样做。
[Melanie McLaughlin]: 是的，好，谢谢。 我感谢您对这项服务的感谢，这是一项服务。 工作很艰难，这些职位的人之所以这样做，是因为他们真的想改善社区。 而且我认为，即使您离开了这个角色，它也永远不会离开您的心，即使在城市以及结果并投资于结果。 而且，你知道，我的生活 我一生的工作是对孩子的辩护和辩护，自从我还是个孩子以来。 这不会随着我的任何角色而改变，这在我生活的各个方面。 那肯定会继续。
[Danielle Balocca]: 正确，这让我感到惊讶的是，我听到您的播客，看到纪录片是他在寻找他童年时代朋友的敬业事物。 然后我不想付出太多，但是您想告诉我们一些有关您的播客的信息吗？
[Melanie McLaughlin]: Yeah, sure. So I grew up in Lawrence, Massachusetts, which at the time was the 23rd poorest city in the country. I'm sure it's not much higher at this point or lower, however you look at it. the demographics are really marginalized population. And of marginalized populations, the most marginalized are individuals like children or people with disabilities, right? So we were children in this community that was already pretty marginalized growing up in a, what we called at the time, you know, projects, housing projects. And some of the words, just to be clear that I'm gonna use are very specific to the 1970s. And I'll explain why that's important, but I'll also maybe use the contemporary word as well. But when you don't understand the word and you don't have a lexicon, it kind of makes things more ambiguous. And so that'll come up a little bit in this, and you'll see why. But Andy and I grew up in a housing project in Lawrence. And he moved in the March before he disappeared. He disappeared in August of 1976. And a few years earlier, we had had a municipal pool built right across the street from the stadium projects. And so that was a huge bonus for us. We thought that was the best thing ever. And it was pretty much like our vacation. A lot of us didn't get to take vacations. And so we were at the at the municipal pool every day. And it was, it was a gift really. It was great, great program, great project. And Andy's house, you could see the pool from his front door. I mean, he was that close and the units were all like, they were six unit dwellings, like one building with six units in it straight across. And we just all really knew each other. We're a community. And I like to say that for the kids, it was part stand by me and part Lord of the Flies. So people who know those movies and those books might get it. It sort of was, you know, nobody messes with us. We take care of each other. We have each other's backs, but also amongst each other, it was survival of the fittest, right? Like we also had a pecking order. But anyway, Andy moved in that March and he was my brother's friend, you know, initially. And then he and I, the first time I met, he was outside playing football. with my brother and I asked if I could play. And I'm the only girl with three older brothers and I was often being chewed away as a pest. And they didn't want, he didn't, my brother didn't want me to play. And Andy stopped the game and said that he wouldn't play unless I could play too, which I thought was super sweet. And I developed kind of an instant crush and he was already pretty cute. You know, he had like olive skin and just big brown eyes. And he had like his hair is kind of, over one of his eyes, floppy hair over one of his eyes and he'd like flip his head back to get it out of his eyes when he was talking to you. And he was just, it was like that prepubescent crush that we have, I guess. And so we started to become friends and we hung out even without my brother around and little things like, you know, he was always taking care of his siblings. He was the oldest of five and he was very paternal in the family. His mom was a single mom. And so Andy would do a lot of the childcare. And I remember one time he was handing cookies out to his siblings and after he had handed them all out to me. And he came back to me and offered me another cookie, which just like little things that kids do to show you that they like you. And he had gotten some walkie talkies right before he disappeared. His birthday was coming up. He disappeared just a week and a half before his 11th birthday. And we went to the pool that Sunday. I remember it was just super hot. Sunday in August before school was gonna start. It was one of the last Sundays before school would start. And we went to the pool and we had been hanging out and just swimming and swimming. And we're kids with a lot of energy. So we just would swim every chance we got and they would have breaks occasionally to just make us rest. And so they had a 10 minute whistle break or whatever. And we were all sitting together outside of the locker room and my brothers and his friend and Andy and me, And I just had this feeling that day that then I didn't know what it was, but today I do. It was intuition. And I didn't want to walk home alone. And I asked Andy if he would walk home with me. And he said he didn't want to. He was going to stay at the pool longer. And I asked my brother if he would walk home with me. And he said he didn't want to. And I turned on my heel and said I was going to tell on him. and walked out of the pool and my brother ended up deciding it would be better for him to walk me home. So he sort of jumped up and walked out with me. And literally all it took was crossing the street, crossing a little tiny project parking lot. going past Andy's house and down a little tiny hill and my house was right there. My grandmother's was right there. I mean, we were so close to the pool. And so my brother and I went home and it was around late afternoon lunchtime. We were hungry. That's the reason that I wanted to go home. And I had intended to come back to the pool, which I would normally do, but I think after, The whole morning I was tired, I didn't go back to the pool. And sometime later, around five-ish or so, you know, people started asking, you know, if Andy's mother was looking for him because, you know, it was the free-range kid days, right? You could go wherever all day long and nobody knew where the heck you were, but when it came to dinner time, you had to be home and that was just the rule. And so it was dinnertime and Andy wasn't home. And so, you know, we sort of heard whispers like, oh, Andy's in trouble. You know, we didn't really think much of it. And then, you know, went to sleep that night like any other night and ended up being woken up in the middle of the night, early morning hours with the police banging on the front door. And my mother brought my brother, Jeff and I down to the kitchen table and they were asking us if we had been with Andy, when was the last time we had seen him? And then it became real. And the next day, probably later that day, Monday or maybe Tuesday, a search team was set up. They set up like a CB radio trucker, 18 wheeler thing over at the stadium parking lot. The football stadium was right next to the project. It was named after the stadium project was named after the football stadium. So they set up a searching rescue team there and they had a lot of CB radio enthusiasts searching and, you know, the kids were searching and the parents were searching and you would hear helicopters and low flying planes and it was just complete. cacophony of sound and just surreal, and looking for Andy. And just as quickly as all that started, it stopped. After just six days, they stopped looking. And for whatever reason, I don't know, none of it was explained to us children. There was no sort of sitting us down. There was no school counseling. There was none of that back then. It was just sort of pretend nothing happened. Life is normal. We got these really ambiguous warnings like, you know, if somebody is asking you to look for their dog, don't help them, stay away from white vans, just like really ambiguous things. You didn't know what was what. And I just remember being so heartbroken and just really bewildered by, how the search could stop. And I have this very vivid memory of standing outside of my unit in the projects underneath this tree that was like one of my favorite places. And I was pondering this and I just, with all this conviction of a nine-year-old, I told myself and Andy that when I grew up, I would try to find him. And I realize now that that was super naive, but it was also sort of a moment in life when, you know, I guess my destiny was defined and I didn't realize it, you know, part of my destiny was defined and I didn't realize it. And so then I went away to college and, you know, ended up, I mean, there was, there's a lot in between there, but, you know, I, I, I became a ward of the state. I was a foster kid as well. So I was a really marginalized kid and I can understand kids being in systems where they're further marginalized. And so I had that experience, but I was very fortunate to have an aunt that could take me in and she took me in and she nurtured me back to health and really helped get me back on my feet and sent me to college. And unfortunately when I was 18, she died. So I went with her when I was 14. And then by the time I was 18, she passed away. So I was on my own again, but I was able to finish college and I majored in human services and communications media. And I had an advisor, as I was talking about these dual majors and what I should do with them, suggest that I should make social justice documentaries, or social justice films. And I was like, oh, that's a good idea. Yeah, I'll do that. And I got an internship at WGBH in Boston and I loved, I went to Fitchburg State undergrad and they were the only university at the time that required a full-time internship before you could graduate. So that really put me ahead of a lot of the more elite colleges. And I ended up being hired by WGBH because I was the intern that was there every day and was working. And so my first job, I was a production assistant there and then an associate producer and then became a segment producer and just sort of went up the chain. And after about 15 years of doing that, I decided it was time to make my own film. I wanted to make my own film. I had been helping independent filmmakers and I thought I could be, you know, maybe I could do this as an independent. And I thought long and hard about it. And I knew seeing other independents and how they worked that if I was going to do this, it was going to have to be something that I would do whether I got paid for it or not, like that I would want to do whether I got paid for it or not. And I thought, what is that? And maybe there were two or three things that I thought I would want to do. And one of them was to find out what happened to Andy. And so in 1998, I decided I would make a documentary about Andy, again, very naively. But I had some experience. I knew how to do research as an associate producer. I knew how to coordinate my research and organize it and that sort of stuff. So the first call I made was to Andy's mom and we talked and the first thing Andy's mother said to me on that phone call was, this is way bigger than you understand or that you can realize. I remember at the time not quite knowing what that meant, but also thinking that maybe it was sort of the musings of a bereft mother that like, of course her child's disappearance is bigger than anything anyone could imagine, but I didn't realize that she wasn't talking just figuratively, she was speaking literally. And I would find that out as the years went by. And so it took me probably, I don't know, five to seven years making that documentary, primarily self-funded with some seed money from WGBH, which was super helpful. And from friends that would do quid pro quo gigs, like my sound man and cameraman would trade services to do the shoots and stuff like that. So that was great. And after a while of working on it and getting it into good shape with a fantastic editor, Rachel Clark, we pitched it to HBO. We had pitched it to HBO very early and they were like, yeah, make it and then come back to us. And so we did and they didn't respond for a couple of months. I remember that. And then finally it was like Labor Day weekend. And I was like, you know what, I'm just gonna call them and essentially be like, do you want it or not? Cause I'm gonna start shopping it elsewhere. And they said, I promise we'll watch it this weekend. And on Monday they contacted me and said, you know, when can you come to New York? So my editor and I flew out to New York and the head of HBO documentary, who was a legend in her own time, Sheila Nevins, met with us with her team and spent four hours with us going over the film. And I remember walking out that day and we didn't have a signed deal or anything, but we got outside of the building and I started jumping up and down. And my editor was like, what are you doing? And I'm like, oh my God, HBO is going to take the film. And she's like, what are you talking about? I'm like, Sheila Nevins doesn't spend four hours with anybody if she's not going to take what they have. I went and bought what I considered to be an expensive pair of shoes, which was a hundred dollars at the time, a hundred dollar pair of shoes. And that was my treat to myself. And we were off, you know, when we made this documentary and it was so validating and it was so important and it was such hard work. And honestly, I should have been in therapy when I was doing it. And I wasn't, instead I was raising, you know, birthing and raising two kids and doing all these things, but it was a really hard film to make. you know, the day that it broadcast, it was June, 2007. And they had asked, HBO had asked if we wanted a party in New York or California. And I said, no, I want a party in Lawrence. And we had it at the theater that Andy and I used to go to as kids. And I remember the night that it was shown, it was like 400 people, the theater was packed. It was people from kindergarten to college and, you know, everywhere in between and Andy's family, of course. all of the important people that matter to me to hear this story, this communal tragedy, right? Like it was also all the kids I had grown up with who never really knew what happened and would be able to see this, you know? And I remember taking a moment and looking out at this audience and thinking, oh my God, like, what am I gonna do next that's gonna feel this important? You know, which is kind of was a character flaw of my own at the time. Instead of just being able to be in the moment and just enjoy this accomplishment, it was like, okay, what's next? And I'm getting better at that. And I would find out what was next. Six months later, I was pregnant. I would find out that I was pregnant with our third child. who we would learn prenatally had down syndrome and a congenital heart defect and would require open heart surgery after she was born. And so the film came out in June and Gracie was born in December. So it was, I got my answer pretty quickly from the universe about what I was doing next. Yeah. And, you know, I took 10 years of caring for my family and learning about disability and becoming a disability advocate and, you know, taking a year long fellowship and, you know, just all of the things that I did, you know, advocating for her in school and all of those things during that 10 years. And I say that I was a child advocate from the time I was a child because I did, you know, go into DSS of my own volition, like I wanted to leave what have you, but Gracie professionalized my advocacy. She gave me a masterclass in advocacy, and I learned how to truly become a child advocate and how to build relationships to create effective systemic change. And I ended up deciding to go to Harvard to get a master's in education policy, because again, I wanna change systems for marginalized kids. And the movement was going a little too slow for me. And I thought maybe if I could just get a master's at Harvard with the mentor who does inclusive education, I'd be able to fix it all. Which again, I don't know, I always look back at how naive I was at all these things. And I'm like, I hope I'm not as naive as I was, but I'm sure I'll look back years from now and think the same. I ended up getting a master's at Harvard and it was 2017. And a lot of things were happening that year. It was the Me Too movement. I had learned about adverse childhood experience study, ACEs, and how childhood trauma affects our outcomes in our life. And was having a lot of that experience myself and was recognizing it in myself. And the Me Too movement was triggering a lot of that as well. And then, you know, one day I was driving down the street and listening to NPR and on the radio came this story about how the FBI were digging in the backyard of a man in Georgetown, Mass. And they were allegedly looking for a child, a victim of homicide. And I had been trying to get the police to listen to that story for 10 years. The victim who had gone to the police 10 years earlier, one of the alleged victims of this man who said he witnessed this child murder had come to me shortly after he had seen the film. I suspect the film probably triggered some things for him. He came to me and was exploring because he was trying to find out who the child might be that he said he had witnessed the murder of. And I, advocated for him and tried to get him in touch with state police and local police and others, you know, the attorney general's office and others. And people, you know, for the most part just sort of pushed him along. And part of it was because he had his own trauma and, you know, he had some things going on. And I think for some of law enforcement that discredited him or, you know, in their eyes and, I think the opposite. I think that when we find people who have that kind of trauma that say that they've witnessed these kinds of things, it's usually evidence that they did witness these kinds of things, as opposed to otherwise. But he was sort of not seen as credible in their eyes for a long time. And then the this man that he had accused had passed away and the police had to go into his home for a check to rule out foul play, which was just standard procedure in Massachusetts if someone dies in their home. And when they went into this man's house, they saw all kinds of incriminating evidence. There were boy mannequins dressed up in soccer uniforms, and there were hundreds of identifications of children. This man had been a soccer coach for years in Beverly and Averill. and I think Georgetown and all sorts of videotapes with questionable titles on them. And it just, it was, it reminded me, I've seen some of the pictures and honestly, it reminded me of like the scene in Silence of the Lambs when you see Buffalo Bill's house, right? Like it literally looked like that. It was just like, and I think they were like, uh-oh, we should have paid attention to that victim. who they refer to as witness X, who I refer to as witness X or whatever. But I was driving down the road and I was triggered by this trauma and I came home and I recognized the trauma trigger, thankfully, but I came home and I pulled out all of my material from the documentary and the police reports and the files and the tapes and everything out of my closet. And I was sitting in the middle of this pile of stuff And I thought, what do I do with this? And I knew when I was finishing Andy's documentary that instead of coming to a conclusion, I was coming to another chapter in the story, but I had to stop at that point. The film was due. And I think also life was calling me to do other things. And frankly, I'm grateful that I stopped at that point, because I think had I kept going, I probably would not have, my mental health probably wouldn't have survived. So I needed that break and I needed that time to become trauma informed really, and to be able to put supports in place before I could go back into it. But in 2017, I decided, all right, I'm going back in. I liken it to that scene in the Godfather with Michael Corleone, when he's like, every time I try to get out, they pull me back in. And I say, like, that's how trauma is, right? Like every time you think you're out, you get pulled back in. But the way that I, cope with my own childhood trauma is through advocacy and through truth telling. And I didn't realize that that's actually a very effective way to cope with trauma. In fact, I have a trauma expert that's on my podcast. and she just wrote a book, her name is Judy Herman, and she just wrote a book called Truth and Repair. Her second book, yeah, at 84. After a long time of. Her own trauma, she was in a lot of pain. She had an accident, was in a lot of pain, and had to derail her career for a while. But at 84, she just wrote her second book. And she's considered the mother of trauma. Her and Bessel van der Kolk started out together. He's sort of, I guess, the father of trauma, if you would say it. But they were the ones who named trauma. Speaking of naming things, there wasn't a name for trauma in the 90s, and they named, or if there was, it was PTSD, and it was very specific to veterans. And Judy Carmen named trauma as being something that's also in our homes and in our lives. And her and Bessel, who wrote The Body Keeps the Score, Bessel van der Kolk, just changed the landscape for trauma survivors. And when I interviewed Judy, she was amazing, because she said she did a lot of work on incest. She said, you know, the data at that point was saying that, you know, incest survivors were 2 million to one. And she said, and I got my doctorate from Harvard and I set up my shingle and I, you know, started my private practice. She said, and in that very week, I had three incest survivors come in to see me. And I was like, there's something wrong with the data. And, you know, she knew. And so she wrote, she specialized in that and she wrote a book back then. of trauma and resilience. Oh, trauma and recovery, right. And then 84 is truth and repair. And her book, truth and repair was really, you know, a revelation to me as I read it, because what she talks about in this book is that we heal trauma through advocacy and through empowerment. But the way that that happens is that it has to be supported by community. We have to have upstanders in our community who are willing to support the truth and allow for the advocacy. and then the empowerment and the healing can happen, which was really a big deal, is really a big deal for me. And it really was like, oh my God, this is the whole purpose of this podcast. And in some ways it's been like the whole purpose of my life. And Bessel's book had that same effect on me. Like I read Bessel's book on, you know, the body keeps the score and I was blown away by how much it related to my life and to the life of so many people I know and so many people who don't know about ACEs and childhood trauma and trauma in general. So I decided the cost effective way for me to do this and tell this story and do a deeper dive would be to do a podcast. I mean, my experience was in documentary filmmaking and it's quite expensive, you know, and it's a lot of work and you have to have a lot of crew and there's just a lot. And I thought, okay, you know, I like this new genre. I think it's a deep dive into materials. I had been listening to a couple of podcasts that really affected me, like Barebrook and crime town and just a few. And I, you know, so I started to, to listen to them and to basically educate myself and try to learn how to, to make them. And so, but I've been working on this project sort of off and on since 2017. And finally, you know, with the help of a lot of people, just to be clear, nobody does this work alone. And I have an incredible composer who I think just really brings the stories to life and editor and, you know, coordinating producer who's really helped me to, just understand what the FRSS feed is and how to get it loaded. But just like basic things and just a great team, researchers both volunteer and paid that have come up along the line. And this is tough work. I mean, this is hard work looking at unsolved missing and murdered children's cases and really looking at them. And so I had this hypothesis that While I was at Harvard, I had to take a statistics class. And speaking of data, and Judy's story about data and the two million to one, I had to take a statistics class. And as I was contemplating this idea, I had to tell this story again, I thought, why not use data to tell this story? I've had so many people sort of be disbelieving in where my research has been leading me. Why don't I use qualitative and quantitative data and prove what I'm finding? And so I did. I had a hypothesis that perhaps murdered children, recovered homicide victims from the 1970s might be able to inform missing children's cases. Because I thought before this, I thought Andy's case was an anomaly. But as I started to research through the film, And otherwise, I found that Andy's case wasn't an anomaly, that Andy was one of several children who went missing in Massachusetts in the 1970s, and that it was far more common than, frankly, any of us realized. And I wanted to know why. And so I wanted to see if the same was true with homicide. So I ended up, you know, getting vital statistics from DPH and, you know, all deaths, zero to 19, and then finding out about how they code deaths, you know, deaths and, you know, disaggregating homicide data. I started, you know, putting together this data and it really, in my opinion, it really supports the hypothesis. There are dozens of unsolved missing and murdered children's cases from the 1970s, unsolved. And so I started to dig into those cases as well. And I started to bring my research to law enforcement. I would meet with district attorneys. I met with the attorney general and anybody, frankly, that would listen to say, look it, something was going on in the 70s. Like this data doesn't, make, you know, it adds up to something more. And, and several of the victims also had, were, you know, the homicide victims had died in the same manner, you know, and again, they were all unsolved. They're still all unsolved.
[Danielle Balocca]: 尝试。
[Melanie McLaughlin]: 因此，这是一个大问题。 然后，我只是在做数据并进行播客，然后， 9月7日，今年9月7日，第二天，是的，是的，在安迪（Andy）生日后的第二天，我们推出了播客。 这是一系列的八项研究调查，分析了马萨诸塞州马萨诸塞州的案件，在1970年代失踪和杀害。 马萨诸塞州和全国儿童贩运儿童的历史，这是一个大而繁重的主题。 但是再次，来到词汇量，当时没有名字。 人们没有贩运人的话。 直到1990年代才进入词典。 实际上，正如我们在播客中所说的那样，没有关于恋童癖的话。 这甚至不是一个普通的词。 而且孩子们必须被看见，也不听到。 如果他们相信的话，很少。 当然，可以指控或被虐待的贫穷和边缘化的孩子 有钱人或特权的人不会相信。 众所周知，2001年，波士顿环球报（Boston Globe）打破了聚光灯虐待丑闻和著名的杰出电影，这也赢得了奥斯卡奖，波士顿环球报（Boston Globe）赢得了普利策（Pulitzer） 这部电影赢得了奥斯卡奖，并在1970年代透露了对马萨诸塞州性虐待的整个文化，但不仅是马萨诸塞州，对吗？ 全国各地，全世界。 我的意思是，这部电影中的最终标题卡就像发生这种情况的所有不同地方的列表。 而且我不知道，我看不到有人可以看这部电影或阅读这些系列，并认为这些是一个坏苹果。 这只是一个教区中的牧师的发病率，您知道，x的孩子人数。 我的意思是，这是一种文化和系统性虐待儿童的气氛。 人们不喜欢谈论它。
[Danielle Balocca]: 好吧，我认为这是一个非常完整的故事。 看起来像童年，您经历了很多创伤，对吗？ 而且，您会发生一些事情，告诉自己要克服它，我将调查它。 我会找到安迪。 我认为这是什么 作为一个更大的项目和截然不同的结果，它变得整体了。 而且，您知道，我认为在我的职业上，我在强奸危机中心工作，我们知道，与性创伤的受害者和幸存者一起，您所说的话，例如正义，正义，正义，正义，正义， 我认为这好像我们有这样的想法，如果发生这些事情，犯罪法律制度将照顾它们。 事实并非如此，对吗？ 我认为我们认为也许建立犯罪法律制度的方式是优先考虑弱势群体的需求，而是优先考虑掌权者的需求。 我认为您看起来像孩子在孩子时所收到的信息，您并不重要。 让我们不要调查这个。 让我们花六天的时间，就像您担心的那样，然后我们继续前进。 我想，您知道，您现在正在做的工作似乎是一种方式，您知道，向您展示您的过去，也是所有重要的孩子，他们的生活都是 值得调查，您知道我从朱迪思·赫尔曼（Judith Herman）的新书中留下的东西是您所知道的，这不一定会惩罚作者。 显然，我们不知道，我们不希望他们继续做自己在做的事情，但是就像人们相信的那样，发生的事情很重要，而且您知道，我们不希望它继续发生和 就像这部纪录片一样，您的纪录片和播客确实让我感到惊讶，至少我似乎听到人们每天如何谈论他们的创伤。 第一集，当您像这个恋童癖的丝带一样演奏时，如何谈论谈论幼儿就很令人不安。 这也是现实，对吗？ 我认为这是 这些是我们正在谈论的重要事情，因为它们正在发生，对吗？ 我们不能忽略它们。
[Melanie McLaughlin]: 但是，是的，我想是的，这是很大程度上的，丹妮尔，有时从某种意义上说，首先，您对您所说的话感到寒意，因为最重要的是，有人对幸存者说的最重要的话是，我相信您。 当我带来它以引起对这些情况和这些问题的关注时，我将永远不会忘记。 现在，您再次知道，我知道，是的，我在项目中长大，我是劳伦斯，我为这个事实感到自豪。 我知道，他教了我很多。 和 我也得到了艾美奖，去了哈佛，对吗？ 因此，也许我有一些一切，即使我认为我有信誉，可以在项目中成长，我在街上的信誉以及我幸存下来的所有事物，我都喜欢我的这一部分，这是我防御的很大一部分。 而且我也是这些命名尝试的其他路线，对吗？ 因此，也许您可以在没有预约的情况下拥有这种信誉承诺，对吗？ 人们会相信 无论我想获得什么媒体，对吗？ 事实是，即使有了这些证书，他们仍然会统治我。 我的意思是，我当时去找像我的上帝这样的人，你不会相信。 好像他们有一些真正的材料，坦率地说，人们根本不相信。 一些司法文件或警察记录，我仍然必须对他们感到惊讶。 他们是惊人的故事。 我会尝试与他们分享 或其他媒体成员或可能的财务或任何人。 而且他得到了类似的东西，哦，您可能是一个寻找指甲的锤子。 或者从字面上使某人告诉我，好吧，也许 也许它的信誉是有问题的。 我当时想，什么？ 就像那个赢得了大奖的记者一样，就像在15分钟的对话中一样，就好像被释放一样，就像，它是从哪里来的？ 那是什么？ 这很有趣，因为我认为其中的一部分也是厌女症，对吗？ 还有女子的比赛，好像有很多事情，但是要说服人们真的很有趣。 但是在积极的看来，有些人相信，其中一个人， 他当时是萨福克郡地区的检察官，成为美国发起人的瑞秋·罗林斯（Rachel Rollins）。 她重新打开了我们带来的几个案件。 他使自己的团队开放了其中几个未解决的凶杀案，并继续对其进行努力。 他们带来了家庭，并在这些家庭的生活中产生了很大的影响。 这很了不起。 这发生了，她做到了。 我认为其中的一部分也是因为她是一个女人，她对这些事情更敏感。 她还是侄女的寄养母亲。 然后，我认为他也从个人层面了解了一些事情。 而且，您知道，但我也进入了您与一个地方合作的法医团队之一 警察局，当我尝试将这些PowerPoint带入数据时，您知道，您知道所有这些。 这就像试图抬起我的PowerPoint，它不起作用，我的嘴巴有一点棉花，我可能被触发了，所有其他这些东西，因为那是另一件事。 当权威触发我时，对吗？ 当警察触发我时，对吗？ 你知道我的意思吗？ 在这些地方。 但是我永远不会忘记。 我永远不会忘记这位法医面试官，她阻止了我，她给了我喝水，她说：我可以停止它一分钟吗？ 我说，是的。 她说，我相信你。
[Danielle Balocca]: 是的，它是如此强大和令人沮丧，以至于人们不再听到它，或者只有这几个地方理解它。
[Melanie McLaughlin]: 我相信你，这是我告诉我他们的故事时，我告诉我的第一件事。 我在播客中说，我在第二集中说，我相信你。 这很重要。 而且，如果您也听到我的动作，而其他试图讲故事多年来的人将被交给他们或付钱或付钱，那就像所有这些创伤一样，然后不会消失。 但是对我而言，媒体在某种意义上很有用 实际上有一些验证，还有一些主张。 其中一些纪录片达到了3500万人。 我有来自中国和泰国的人，我有一个来自中国的美丽妻子，她取得了联系，她做到了，我在这里的墙上，但是她做得很大，我不知道，10 x 12，不，大，大，大，大，海报大小，海报，海报，海报，海报，海报， 拼图，这是安迪的形象，但违反个人的每一部分都是中国的儿童，他们保留了安迪的形象。 她向我保证，她肯定会在中国教孩子 儿童安全以及如何保护自己。 哦，天哪，这就像您是这种事情，它的重要性。 这有所不同。 播客是在第三集中。 目前下载了25,000次。 我们是Apple播客中的趋势。 在Apple真正的犯罪类别的第一周，我们处于前30名。 这在独立播客中是前所未有的。 那是另一件事。 这个播客是独立的。 没有人会捡起它。 相同。 就像没有其他人……我知道这是一件困难的事情。 我明白。 人们就像，哦，但是那里有很多困难的问题，很多人涵盖了它们。 这就是这样...我的意思是，我认为肯定是八年前，当我扔掉它时，这也是一种……披萨的整个问题，这太可怕了。 不，但是预防儿童性虐待真的很可怕，因为人们可以排除诸如哦，这不是事实的事情。 这是一个阴谋。 他们只是在我们的社会中丢弃了事情，因为很难听到或不想谈论它。 所以我告诉别人当你听到狩猎女巫的话时， 使您的耳朵更加动画，简单地说：这是什么？ 因为您会在周二发行的情节中看到，这是一个非常有力的情节，称为另一个波士顿性丑闻，有一群男人在城市和城市中贩运孩子，他们形成了 它成为该国第一个名为Nambla的恋童癖组织，北美男孩协会。 那是在安迪失踪几个月后仅几个月的马萨诸塞州里维尔（Revere），其他许多孩子像安迪（Andy）消失了。 而且，嗯， 您知道，他们是医生和百万富翁，而且您知道，董事参加了私立精英学校，您知道所有这些特权的人。 但是人们不知道的是，在此之前的两年之前，我在下一集的播客中收取它 您知道，有一位社会服务主管，他建立了一个假招待所，并正在将孩子贩运到恋童癖者。 而且，您知道，他们创建了一个工作组，以调查为什么感谢上帝，这名波士顿凶杀案侦探不会放手。 他知道，他独自一人，他不相信这是一个孩子的自杀，只像骨头一样保留，这不会离开案件。 最后， 他的调查导致了检察官办公室与波士顿和DCF警察之间的这一部队的互动任务，后来被称为井 - 鲍勃·普比里奇部。 他们应该调查5,000名父母的孩子和3200家房屋，以确定许多孩子实际上被放置 他们当时称之为已知的同性恋男人，因为当时的同性恋和恋童癖的结合很大，因为这是同性恋权利运动的时代，人们仍然像今天一样，人们仍然非常歧视。 而且，但波士顿有一个很棒的故事。 这真的很令人惊讶，我希望如何接受面试，因为 您知道，这些恋童癖者试图加入1970年代马萨诸塞州同性恋权利的合法运动。 而且他是同性恋，或者是同性恋女性，您知道的是女同性恋女性。 他们就像，不，您知道，代表伊莱恩·诺布尔（Elaine Noble），他是众所周知的，只有同性恋权利的伟大捍卫者说：不，您不会和我们一起游行。 你不是，我们不是 我们不与您同在，我们不相信孩子，这是其中的一部分。 因此，这确实很了不起，但是他们试图进入同性恋权利运动。 因此，他们将其中的很多与同性恋权利相匹配。 但是当天记录的方式是将他们与已知的同性恋单身男人一起放置。 但实际上，这些人是恋童癖者和罗克斯伯里办公室的社会工作主管，至少据说是100名儿童。 但是，您知道，我制作了一个FOIA，这是该工作组记录中的信息自由的要求，为什么我想知道结果如何，好吧，报告的情况如何？ 他们决定了什么？ 多少？ 你知道，答案是什么？ 什么都没有，什么都没有。 似乎没有人记得有一个工作组。 AG办公室说没有文件。 如果我与人们交谈，这是一个活生生的故事。 我的意思是，我的意思是，我还活着。 然后，许多人在发生时仍然还活着。 令人惊讶的是，他们似乎不记得或不想谈论它。 这非常非常了不起。 这是在这个崇敬之环开始的两年之后，这是Nambla组织的创建。 因此，您知道，这些孩子在全国和马萨诸塞州的交通环，没有人真正意识到这正在发生。 而且，您知道，我们现在没有媒体。 我们没有。 互联网。 我们一会儿无法学习。 我们有一些渠道，仅此而已。 如果有报道，请报告。 如果不是，那不是。 我们不知道。 并发现，您还将在播客中发现这是一个国家问题。 最后，有一些国会听众一直在制定避免的第一条法律 儿童色情制品，因为这甚至不是非法的。 这太疯狂了。 但这就像一般的全景，来自一个非常个人的地方。 然后我们回到一个非常个人的地方 国防和行动呼吁。 我真正想要这个播客，我希望这个播客会有些事情。 一个是，我想要一个马萨诸塞州的研究小组，其中包括1970年代缺席和死去的儿童的这些尚未解决的案件。 我很想看到这发生了。 我很想看到一个失踪人员创建的数据库，目前尚不存在。 我做出立法辩护。 我们与参议员琼·可爱（Joan Lovely）合作，后者为结束限制的状态做了很多工作，这对此非常重要。 这是另一个呼吁采取行动。 但是我也怀疑我不怀疑我知道从那时 That was part of this organized and coordinated abuse, and that have not been giftd, that or have not ben gifted gut community will not represent them or Believe Them, or guts they are expected to be strong, or women who are expected not to speak, or, you Know, You Know, You Know, You Know, You Know, You Already Know, 他患有成瘾，无法死亡或死于创伤。 但是我怀疑劳伦斯还有更多的受害者和劳伦斯的幸存者。 我希望您能听到这个播客，并知道有一个社区，有一群幸存者试图将结果改变为子孙后代，我们相信并希望帮助他们。
[Danielle Balocca]: 是的，谢谢。 是的，似乎是这样的，制作纪录片和播客的过程为您提供了一些有用的治疗元素。 对于某些目标，这听起来有些目标会如何影响本地。 那么，我们如何才能将其视为真实的问题，也许是我们想要的东西呢？ 更加关注。
[Melanie McLaughlin]: 我认为一件事，是的，好吧，或多或少，是的，谢谢您也将其带到当地作品，因为其中一件事是，是的，我做到了，这使我真的不仅必须研究社区创伤和社区创伤，而且还必须看个人创伤。 这就是为什么我推荐创伤疗法的原因。 我认为这真的很重要。 我认为没有合格的支持，人们不应该探索这个问题。 我认为这是一个困难的问题。 我认为可以为某些人触发此播客，而且我了解。 但是我也认为这确实很重要，好像有人在，哦，我不知道我是否能听到它，因为很难听到。 我想，是的，不，我确定。 我说，想象一下孩子们被听到与否有多困难。 因此，就像，我认为这是我们至少可以做的就是听这些故事，并尝试为今天仍在发生的这些孩子，幸存者和孩子做些事情。 我可以得到 您知道，美国的一些幸存者和米奇·加拉比特（Mitch Garabitian）在电影的聚光灯中扮演的是一些幸存者和米奇·加拉比特人。 我记得桌子上的一个人说米奇·加拉比特（Mitch Garabitian），好吧，你知道，这是很长时间了。 今天有什么发生吗？ 米奇是怎么回事，你在开玩笑吗？ 您知道，而且我们甚至都不知道为什么大多数人都不谈论孩子的性虐待，最高为40或50。 因此，您知道，在30年内与他们交谈。 但是在当地，到达当地的作品，你知道，卡门坚硬，这是另一个 律师是这项工作的伟大活动家。 我知道，我向Carmen Call召集的建议进行了一次完整的建议，它被称为蒙面儿童，现在是一个非营利组织的组织，现在是儿童司法运动和足够的虐待运动。 卡门在学校里确实有很多虐待的要点，因为您知道在虐待发生时多次发生的事情是侵略者保持沉默，与天主教堂没有什么不同，因此将提供他们离开职位而不是被解雇的机会。 以及显示的费用或其他任何费用。 那么，发生什么是他们只能在街上或其他地区上学，然后再次被雇用，也许在那之后发生了什么，对吗？ 所以是一样的。 他们称此为“ CSA预防社区”中的垃圾之外。 但是卡门正在努力。 还有足够的面具，儿童和虐待。 因此，在上传她的建议后，执行董事杰塔·伯尼尔（Jetta Bernier）与我分享了 一门接受培训的课程，以识别准备行为和其他行为。 我们尽快感谢上帝，您知道，莫里斯·埃杜尔德·文森特（Maurice-Edouard Vincent）院长参加了简历，现在是我们所在地区的强制性培训。 这就是享受的补贴的结果，那就是群众早在我加入董事会之前就已经很久了。 你知道，他们在其他地区做了这项工作， 这是我们可以带到梅德福的东西，只需连接校长和群众。 出于他的政府的信誉和信誉，他们将他带入了领先。 我们从评论中听到的说法非常有用，并产生了很大的不同。 因此，这项课程还有又一步，群众希望与梅德福公立学校合作以改善它。 我们还试图与他们组织一次会议。 因此，这是一项非常非常重要的工作。 社区有责任做这项工作。
[Danielle Balocca]: 是的，不，我认为我对这种虐待的一件事是权力因素，对吗？ 我认为很多 在任何类型的性犯罪中，即使他是成年受害者，也有更多的关注来保护作者。 而且，如果不被某物谴责，请不要倾向于跟随它们。 我们知道很难谴责人们。 而且还有孩子，当孩子是受害者时， 您知道，看来我们想考虑保护儿童的逻辑感觉，但是我们正在更多地考虑成人的权利和需求以及如何，如何看待垃圾。 这真的是真的，太可怕了。 当我们说话的方式时，您知道，我们无法透露这个人所做的或无法谈论的事情。 就像，对吗？
[Melanie McLaughlin]: 我知道，这太疯狂了。 好吧，长期的分支机构，就是这样。 就像人们一样，这不是一个独特的实例。 我的意思是，这对儿童生活的影响会影响他们一生。 因此，您知道，这是另一个。 它是世代相传的，它是其他许多事情， 还围绕保护儿童和命名。 我认为另一件事是，我说的是我所说的一件事：去哈佛大学最好的部分，老实说，这是事实，我从哈佛大学中学到的最重要的是，一切都有一个词。 一旦您理解了这个词，就可以开始攻击问题，对吗？ 然后，这就是为什么我输入此播客，涉及以下事实。 个别同性恋者与恋童癖者不符，对吗？ 但是恋童癖是，对吗？ 或者，您知道，当时没有人贩运。 你知道他们叫什么吗？ 我确定是的。 你知道他们当时叫他什么吗？ 不，我不。 儿童卖淫。 哦，太好了。 儿童卖淫。 你怎么在开玩笑？ 在下一集中，我们有一个幸存者，你知道， 它被确定为任命儿童的妓女，但儿童不能自己妓女。 他们没有同意的能力。 就是这样。 但是另一个是要回到单词，所有事物都有一个单词。 我不知道Andy和我过去没有什么是所谓的社会资本。 我知道 足以知道这是什么，我的孩子会拥有它。 我要去那里。 我要捍卫他们。 人们会知道，这些不是您收到的孩子。 这些都是。 我打算做任何事情，竞选学校委员会，做任何事情。 但是另一件作品不仅是为我的儿子做这件事，还为整个系统和其他孩子这样做。 因为我是那个孩子，老师无法得到太多关注，因为 我母亲不会参加PTO会议。 我妈妈没有问我为什么要拘留或这些事情中的任何一个。 因此，坦率地说，我小时候遭受的虐待被系统忽略了。 其中的一部分是我不想参与其中，很多事情和人们都有其原因，但是根据我自己的经验，第一个51a，这是对儿童虐待的抱怨， 他是我提起的，我想他可以在幼儿园里说。 我14岁那年就渴望自己的愿望。 因此，如果您想到这是多么复杂，那么虐待儿童和事情也通过语言，通过贫困和所有这些事情变得复杂。 因此，我们在梅德福（Medford）这里有很多孩子，在这个美丽的城市 房地产价值正在离开桌子，我们仍然有那些孩子 像我和劳伦斯一样营养不良。 人们看着我是在发生的事情。 我们看不到这些孩子是谁。 我们不知道他们什么时候看着他们是未接受食物或虐待或其他任何孩子的孩子。 但是我要说的只是四分之一的男孩，四分之一的女孩会尝试CSA。 他说，十分之一的儿童分别是统计数字。 我认为孩子确实更高，但孩子通常不会报告。 但是这些统计数据确实很高。 因此，如果四分之一的女孩尝试过CSA，而八分之一或十分之一的男孩中有一个，那么它有几个恋童癖者？ 好的。 是的。 冷，是的。 哇。 我知道这很激烈。 所以我们结束了一个快乐的成绩。 我们如何将其转移到快乐的笔记中？ 我不知道。 让我们来看看。 好吧，我们将其转移到快乐的年级的方式是，这个城市有很多倡导者。 有很多人想为孩子做正确的事情。 这个城市有很多好人。 我鼓励您进一步看，您知道，总是出现在会议上的家庭，您知道， 他确实想到了我们如何将这些孩子与未达到的孩子联系。 我们有一个很棒的海地克里奥尔社区。 我们有一个很棒的葡萄牙演讲社区。 我们在城市有几个公共住房。 是的，这太神奇了。 丹尼尔很讽刺。 我记得我的孩子在学校的时候，我会是孩子的朋友。 您知道，这可能是在住房当局中。 我会想，我会邀请他们，让他们来，无论如何。 他们会想，不，我不邀请他们，妈妈。 我喜欢，你在说什么？ 他们会想，我为邀请他们去我们家而感到羞耻。 我想，什么？ 丹妮尔，这是最奇怪的经历。 他们为邀请他们到我们家而感到羞耻，因为我们有一个美丽的房子，因为他们可能认为我们很富有。 我当时想，具有讽刺意味，对吗？ 就像我一生中赋予的讽刺。 我当时想，什么？ 这是多么疯狂，但这是真的。 就像，您可以在自己的环境中感到舒适，而忘记这正在发生，他们知道，这是真实的，这些孩子正在经历它，我们被迫提供帮助。
[Danielle Balocca]: 是的，我认为好消息是该播客正在发布。 我想我已经和你在一起已经有好几年了，你真的在努力把它拿出来，他终于出去了。 您几次提到哈佛，我会说关于哈佛的这是他们做得很好，或者我的意思是，我不知道，这是一项出色的工作，但是他们 有一个系统，学生报告性创伤，对吗？ 正如我认为许多学校避免这种情况的那样，因为，如果我们认识到问题是一个问题，我们需要认识到这是一个问题，对吗？ 哈佛大学的工作以及我认为您在这个播客中所做的事情就像在事物上添加名字并拿走它们，以便我们可以识别它们，然后我们可以帮助它。 帮助处理它，对吗？ 是的，到底是。
[Melanie McLaughlin]: 当您忽略自己时，这就是一切。 但是我也说哈佛这样做是因为他们经过了几次处理。 因此，需求可以改变，对吗？ 需求创造系统性变化。 啊，真的吗？ 这就是您知道的，好吧，如何创建更改？ 不幸的是，这似乎是他们的需求，这是法律，您知道，它正在改变它。 但是有许多不同的方法可以做到。 但是通常，与1970年代的这些情况相同。 发生了什么？ 为什么这一切 坦率地说，儿童色情和恋童癖者在1978年在全国范围内破裂。 好吧，发生这种情况是因为全国各地有许多失踪儿童。 因此，他们吸引了国会观众并制定了法律。 第一个儿童性剥削法于1978年制定。 然后是国家失踪和探索儿童中心 它成立于1984年。 在国家中心的历史上，他们会说，由于许多失踪儿童案件而创建了它们。 他们会说，由于全国各地失踪儿童的许多案件，创建了它们。 我让安迪的一位社会工作者告诉我，至今消失的儿童是现代历史上1970年代的最高十年。 根据我们的回顾，没有人能回顾一下，我们能看到这一点，看看这些数据是什么吗？ 我的意思是，我很想看到一个机构确实使 案例分析，关于该行业所影响的实际属于的机构研究，这个10亿美元的行业影响了这些结果。 但这是另一天的另一个对话。 我们不会在其中启动另一个播客，但我希望人们听到。 您可以找到我们，我们的网站是openinviopodcast.com。 您可以在任何听到的地方找到我们。 正如我所说，我们收到了五星级的近200个批评 而且，如果您阅读评论和评论，您会听到原因。 这是一个基于事实和基于数据的播客，但它也具有心，同理心和激情。 所以我认为这是有帮助的。
[Danielle Balocca]: 是的，做得很好。 就像，您知道，听着沉重且非常好的内容。
[Melanie McLaughlin]: 我知道。 因此，很好奇，因为有人说这是，音乐真的很棒。 而且我认为有人在苹果的播客批评或某些内容中写道，好像他能听到这个主人一样，你知道，永远，你的声音或永远。 我想，很奇怪地说，当您说话时，您知道我的意思吗？ 如何，但这是真的。 但是我想这可以补偿。 您知道，您可能需要一个轻松的声音来讲述这些可怕的故事。 而且，如果有幸存者，丹妮尔（Danielle），我只想说，你知道，你并不孤单。 我们相信你。 您知道，有一个国家直接性虐待行为是雷恩。 而且我没有在我面前的数字，但我认为这是1-800-656。 但是也许我可以将其包括在这里的一部分。 是的。 而且，您知道，身体保持得分，而创伤仍然与我们同在。 但是，您知道，我喜欢它，我认为这是一个提名，我不记得是谁，但是您也可以帮助我。 但是我喜欢它，你知道，世界充满了痛苦，但它也充满了克服。
[Danielle Balocca]: 这是一个结束的好地方。 谢谢，梅兰妮。 我希望听到其余的播客。
[Melanie McLaughlin]: 谢谢。 让您知道您的想法。 请随时随时发送短信。 帮助。
[Danielle Balocca]: 非常感谢您听今天的情节。 播客梅德福·比特斯（Medford Bites）由丹妮尔·巴拉卡（Danielle Balacca）和雪莉·基瑟曼（Shelle Kisherman）生产和温和。 这首歌是由Hendrik Irennys创作的。 我们很想听听您对播客的看法。 您可以在Gmail.com的Medfordpod上与我们通信，并在GMAIL.com的MedfordPod上进行电子邮件，也可以在Apple播客中进行资格并检查播客。 非常感谢您的聆听。 伙计们，播客叫什么？ 永不嘴！