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As she switches roles from lip-syncing Beyoncé hits to hostess, Mahogany reminds partygoers of the method to the proverbial madness. “I want you all to know that Black Fridays is special not just because it is a black variety show,” she says, “but also because we give all the proceeds to the Transgender Cultural District!” \u003c/p>\n\u003cfigure id=\"attachment_13809527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809527\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany sits at Mission Pie for an interview on Sept. 14. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with KQED, Mahogany says she created the monthly variety show as a space for queer and transgender people of color to perform. Since its debut in April of this year, it’s brought a mix of drag artists, burlesque dancers, musicians, spoken-word artists and comedians. Though the show draws a diverse crowd of attendees, Mahogany created it as an outlet for specifically black performers to be celebrated.\u003c/p>\n\u003cp>“It’s a show by black people, of black people, for everybody,” Mahogany says. “It’s also about welcoming non-black people into that space and being like ‘This is what we’re about, and this is who we are. Celebrate this with us.’”\u003c/p>\n\u003cfigure id=\"attachment_13809534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809534\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Militia Towers takes to the Black Fridays stage for the first time on Sept.22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s still this weird 80’s-style diversity, where if you have at least one of something other than your standard white person, then you’re diverse,” says Alotta Boutté, a performer who brings a mix of cabaret and burlesque to Black Fridays. “Something like Black Fridays normalizes the actual reality that there are many of us out here trying to perform and bring our heart to people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Five years ago, Mahogany — fresh from her run as a contestant on \u003cem>RuPaul’s Drag Race\u003c/em> — began hosting \u003cem>Drag Race\u003c/em> viewing parties called “Mahogany Mondays.” Occasionally, she would host “Black Out” Mondays featuring all black performers, which morphed into what is now “Black Fridays,” every fourth Friday at The Stud.\u003c/p>\n\u003cfigure id=\"attachment_13809954\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BlackFri.1.jpg\" alt=\"Bionka Simone enters the stage for Black Fridays on Sept. 22.\" width=\"1920\" height=\"1277\" class=\"size-full wp-image-13809954\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-520x346.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bionka Simone enters the stage for Black Fridays on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Stud is an eclectic, 51-year-old gay bar that Mahogany \u003ca href=\"http://www.sfweekly.com/culture/feature-culture/how-the-stud-was-saved/\" rel=\"noopener\" target=\"_blank\">co-owns with 17 other people\u003c/a>. After its rent nearly tripled, The Stud was purchased by the collective a year ago to preserve the bar and its place in the community.\u003c/p>\n\u003cp>“The Stud has always been a very queer space and a place for artists, a place for people who didn’t necessarily identify with the more mainstream gay culture,” Mahogany says. The venue is unique in being not just a gay man’s space, but also a space for women, trans and gender nonconforming people, making it the ideal venue for Black Fridays, she adds.\u003c/p>\n\u003cp>“In San Francisco, we really live within this bubble of liberalism, but it’s almost like because we feel like we live in this bubble we feel like we are above racism and sexism,” Mahogany says. “Whether we realize it or not, we all feed into these oppressive systems. I just wanted to put the focus on that.”\u003c/p>\n\u003cfigure id=\"attachment_13809533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany slips dollar bills into the pocket of her co-host, Lance Holman on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a native San Franciscan growing up attending Catholic school, social service has long been a part of Mahogany’s life. She became involved in LGBTQ causes in college at USC and earned a Master’s in Social Work at UC Berkeley. Mahogany went to work as a social worker in the Bay Area with homeless youth and the LGBTQ community after graduating.\u003c/p>\n\u003cp>“My life has a lot of swinging back and forth between drag and social work, and somehow I always end up doing both,” Mahogany says. “I can never leave either one behind for very long.”\u003c/p>\n\u003cp>An activist in the neighborhood, Mahogany helped lead the fight to establish the Compton’s Transgender Cultural District in the Tenderloin, which is now slated to kickstart in October. Black Fridays have thus far raised roughly $3,000 for the effort.\u003c/p>\n\u003cfigure id=\"attachment_13809955\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BlackFri.2.jpg\" alt=\"Sgt. Die Wies and an assistant perform at Black Fridays on Sept. 22.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13809955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sgt. Die Wies and an assistant perform at Black Fridays on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Honey Mahogany is an absolute treasure to have in San Francisco, she sets the bar really high,” says Qween (Travis Santell Rowland), a drag queen and spoken-word artist who has performed at several Black Fridays. “I think that she provides a very nurturing environment, both backstage and when she presents us to go onstage.”\u003c/p>\n\u003cp>Bouteé agrees. “A bunch of us were talking about this backstage… when you’re in such a close, intimate setting with a bunch of other white performers, you don’t fully understand how much you withhold of yourself,” she says. “I really appreciate those moments when there’s more than one of us backstage and you can be a little bit more yourself.”\u003c/p>\n\u003cfigure id=\"attachment_13809531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alotta Boutté lip-syncs to Ike and Tina Turner’s “I’m Yours” on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the audience hungry for more at The Stud, Mahogany draws back the curtain to announce Bouteé, her “drag daddy” and the final performer of the evening.\u003c/p>\n\u003cp>Dressed in a vibrant grape-colored skin tight dress, Boutté comes out gagged and wearing cuffs on her hands and feet. As the music to Ike and Tina Turner’s “I’m Yours” blares, dollars bills rain on her as an audience member releases her from the restraints and delivers a bill to Boutté’s mouth straight from between her teeth. Boutté shimmies across the stage and belts her lip-sync, exuding a magic that the audience grabs onto and eventually takes to the dance floor until the early hours of 4am.\u003c/p>\n\u003cp>A little bit more yourself, indeed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For more on Honey Mahogany and Black Fridays, follow her \u003ca href=\"https://www.facebook.com/honeymahoganyofficialfanpage/\" rel=\"noopener\" target=\"_blank\">official fan page\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the back of The Stud bar, bodies covered in sweat crowd the stage. Beneath a glittering disco ball, to the boom of screams and applause, Honey Mahogany appears from behind the curtain to reveal a black leather dress and boots up to her knees, her third costume change of the night.\u003c/p>\n\u003cp>This is no ordinary Friday night in September — it’s the kickoff of Folsom Street Fair weekend, which for tonight’s crowd might as well be an official San Francisco holiday. As she switches roles from lip-syncing Beyoncé hits to hostess, Mahogany reminds partygoers of the method to the proverbial madness. “I want you all to know that Black Fridays is special not just because it is a black variety show,” she says, “but also because we give all the proceeds to the Transgender Cultural District!” \u003c/p>\n\u003cfigure id=\"attachment_13809527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809527\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15b3-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany sits at Mission Pie for an interview on Sept. 14. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with KQED, Mahogany says she created the monthly variety show as a space for queer and transgender people of color to perform. Since its debut in April of this year, it’s brought a mix of drag artists, burlesque dancers, musicians, spoken-word artists and comedians. Though the show draws a diverse crowd of attendees, Mahogany created it as an outlet for specifically black performers to be celebrated.\u003c/p>\n\u003cp>“It’s a show by black people, of black people, for everybody,” Mahogany says. “It’s also about welcoming non-black people into that space and being like ‘This is what we’re about, and this is who we are. Celebrate this with us.’”\u003c/p>\n\u003cfigure id=\"attachment_13809534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809534\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15c6-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Militia Towers takes to the Black Fridays stage for the first time on Sept.22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s still this weird 80’s-style diversity, where if you have at least one of something other than your standard white person, then you’re diverse,” says Alotta Boutté, a performer who brings a mix of cabaret and burlesque to Black Fridays. “Something like Black Fridays normalizes the actual reality that there are many of us out here trying to perform and bring our heart to people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Five years ago, Mahogany — fresh from her run as a contestant on \u003cem>RuPaul’s Drag Race\u003c/em> — began hosting \u003cem>Drag Race\u003c/em> viewing parties called “Mahogany Mondays.” Occasionally, she would host “Black Out” Mondays featuring all black performers, which morphed into what is now “Black Fridays,” every fourth Friday at The Stud.\u003c/p>\n\u003cfigure id=\"attachment_13809954\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BlackFri.1.jpg\" alt=\"Bionka Simone enters the stage for Black Fridays on Sept. 22.\" width=\"1920\" height=\"1277\" class=\"size-full wp-image-13809954\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.1-520x346.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bionka Simone enters the stage for Black Fridays on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Stud is an eclectic, 51-year-old gay bar that Mahogany \u003ca href=\"http://www.sfweekly.com/culture/feature-culture/how-the-stud-was-saved/\" rel=\"noopener\" target=\"_blank\">co-owns with 17 other people\u003c/a>. After its rent nearly tripled, The Stud was purchased by the collective a year ago to preserve the bar and its place in the community.\u003c/p>\n\u003cp>“The Stud has always been a very queer space and a place for artists, a place for people who didn’t necessarily identify with the more mainstream gay culture,” Mahogany says. The venue is unique in being not just a gay man’s space, but also a space for women, trans and gender nonconforming people, making it the ideal venue for Black Fridays, she adds.\u003c/p>\n\u003cp>“In San Francisco, we really live within this bubble of liberalism, but it’s almost like because we feel like we live in this bubble we feel like we are above racism and sexism,” Mahogany says. “Whether we realize it or not, we all feed into these oppressive systems. I just wanted to put the focus on that.”\u003c/p>\n\u003cfigure id=\"attachment_13809533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_15e4-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany slips dollar bills into the pocket of her co-host, Lance Holman on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a native San Franciscan growing up attending Catholic school, social service has long been a part of Mahogany’s life. She became involved in LGBTQ causes in college at USC and earned a Master’s in Social Work at UC Berkeley. Mahogany went to work as a social worker in the Bay Area with homeless youth and the LGBTQ community after graduating.\u003c/p>\n\u003cp>“My life has a lot of swinging back and forth between drag and social work, and somehow I always end up doing both,” Mahogany says. “I can never leave either one behind for very long.”\u003c/p>\n\u003cp>An activist in the neighborhood, Mahogany helped lead the fight to establish the Compton’s Transgender Cultural District in the Tenderloin, which is now slated to kickstart in October. Black Fridays have thus far raised roughly $3,000 for the effort.\u003c/p>\n\u003cfigure id=\"attachment_13809955\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BlackFri.2.jpg\" alt=\"Sgt. Die Wies and an assistant perform at Black Fridays on Sept. 22.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13809955\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BlackFri.2-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sgt. Die Wies and an assistant perform at Black Fridays on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Honey Mahogany is an absolute treasure to have in San Francisco, she sets the bar really high,” says Qween (Travis Santell Rowland), a drag queen and spoken-word artist who has performed at several Black Fridays. “I think that she provides a very nurturing environment, both backstage and when she presents us to go onstage.”\u003c/p>\n\u003cp>Bouteé agrees. “A bunch of us were talking about this backstage… when you’re in such a close, intimate setting with a bunch of other white performers, you don’t fully understand how much you withhold of yourself,” she says. “I really appreciate those moments when there’s more than one of us backstage and you can be a little bit more yourself.”\u003c/p>\n\u003cfigure id=\"attachment_13809531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809531\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-1180x787.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-960x640.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/fullsizeoutput_1429-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alotta Boutté lip-syncs to Ike and Tina Turner’s “I’m Yours” on Sept. 22. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the audience hungry for more at The Stud, Mahogany draws back the curtain to announce Bouteé, her “drag daddy” and the final performer of the evening.\u003c/p>\n\u003cp>Dressed in a vibrant grape-colored skin tight dress, Boutté comes out gagged and wearing cuffs on her hands and feet. As the music to Ike and Tina Turner’s “I’m Yours” blares, dollars bills rain on her as an audience member releases her from the restraints and delivers a bill to Boutté’s mouth straight from between her teeth. Boutté shimmies across the stage and belts her lip-sync, exuding a magic that the audience grabs onto and eventually takes to the dance floor until the early hours of 4am.\u003c/p>\n\u003cp>A little bit more yourself, indeed.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For more on Honey Mahogany and Black Fridays, follow her \u003ca href=\"https://www.facebook.com/honeymahoganyofficialfanpage/\" rel=\"noopener\" target=\"_blank\">official fan page\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "headlands-balances-preservation-and-intervention-with-new-artist-commissions",
"title": "Headlands Balances Preservation and Intervention with New Artist Commissions",
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"content": "\u003cp>\u003ca href=\"http://www.headlands.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Headlands Center for the Arts\u003c/a> has a new drinking fountain. This is a big deal.\u003c/p>\n\u003cp>Anyone who’s spent time rambling through the Marin Headlands knows sweeping vistas are legion, but drinking fountains are \u003ca href=\"https://ww2.kqed.org/arts/2017/06/15/lets-drink-scenic-water-fountains-and-why-its-radical-to-use-them/\" target=\"_blank\" rel=\"noopener\">few and far between\u003c/a>. Also: this is no ordinary double-spouted bubbler.\u003c/p>\n\u003cp>Made by Bay Area artist \u003ca href=\"http://www.nathanlynch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nathan Lynch\u003c/a>, \u003ci>Doubledrink\u003c/i> is a functional sculpture covered in white industrial glaze — as if a Kohler fixture turned oozy and bulbous. \u003ci>Doubledrink\u003c/i> also makes the act of slurping water more awkward than it has ever possibly been.\u003c/p>\n\u003cp>Lynch positioned the spouts in such a way that simultaneous drinking means staring someone straight in the eyes while you make whatever strange expression you make at the drinking fountain. “It’s like a toast,” he says. An intimate, uncomfortable toast that puts you face-to-face with someone in their most vulnerable state.\u003c/p>\n\u003cfigure id=\"attachment_13808506\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200.jpg\" alt=\"View of The Commons, main plaza at Headlands Center for the Arts.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">View of The Commons, main plaza at Headlands Center for the Arts. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Doubledrink\u003c/i>, along with Dutch artist and designer \u003ca href=\"http://www.chriskabel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Kabel\u003c/a>’s \u003ci>Wall Space\u003c/i> and Los Angeles-based \u003ca href=\"http://www.ball-nogues.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ball-Nogues Studio\u003c/a>’s \u003ci>Welcome Terrace East & West\u003c/i>, is a brand new commission created specially for Headlands’ brand new outdoor gathering space, called \u003ca href=\"http://www.headlands.org/the-commons/\" target=\"_blank\" rel=\"noopener noreferrer\">The Commons\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once a gravelly parking area between Buildings 944 and 945 (home to administrative offices, a project space, the mess hall and artist studios), the Commons is now gracefully landscaped into stairs, seating and jutting concrete vantage points, courtesy of local firm \u003ca href=\"http://www.cmgsite.com\" target=\"_blank\" rel=\"noopener noreferrer\">CMG Landscape Architecture\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13808507\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808507\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200.jpg\" alt=\"Aerial view of The Commons, main plaza.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Aerial view of The Commons, main plaza. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Headlands celebrates the opening of The Commons on Sunday, Sept. 17, 12-5pm with a day of performances, installations, food trucks, family-friendly activities and even a pedal-in (a group bike ride from San Francisco, led by the \u003ca href=\"http://www.studioforurbanprojects.org/projects/pedal-in/\" target=\"_blank\" rel=\"noopener noreferrer\">Studio for Urban Projects\u003c/a>).\u003c/p>\n\u003cp>The $1.8 million project was born out of both practical and artistic desires. “Given our home here in the national park, a big part of our commitment to the park is to take care of the campus,” says Headlands’ executive director, sharon maidenberg. “We felt strongly that we should focus on a project that enhances the space for visitors and makes it more accessible.”\u003c/p>\n\u003cfigure id=\"attachment_13808511\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808511\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200.jpg\" alt=\"'Welcome Terrace East & West,' a site-specific work by Ball-Nogues Studio.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Welcome Terrace East & West,’ a site-specific work by Ball-Nogues Studio. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nothing embodies this balance of preservation and creative improvement quite like the newly flush driveways in front of both main buildings. Inspired by the Japanese art of kintsugi, in which broken pottery is mended with lacquer mixed with powdered gold, silver or platinum, making the site of repair obvious, \u003ci>Welcome Terrace East & West\u003c/i> fills the areas between the old fragments of concrete with brilliant multicolored stripes of terrazzo. The result is archeological and puzzle-like, with islands of gray concrete showing just how much solid ground was missing before Ball-Nogues Studio intervened.\u003c/p>\n\u003cp>Kabel’s \u003ci>Wall Space\u003c/i> is similarly subtle: A system of slim rails on Building 945’s wooden siding supports metal mesh letters — painted the same color as the wall — that can be arranged, movie marquee-style, between the windows of the building’s three stories.\u003c/p>\n\u003cp>“It’s an empty slate that other people can use to express their thoughts,” Kabel says. “I was interested in being as minimal as possible.” Headlands invited San Francisco-based writer \u003ca href=\"https://openspace.sfmoma.org/author/claudialarocco/\" target=\"_blank\" rel=\"noopener noreferrer\">Claudia La Rocco\u003c/a> to curate the first round of texts, which begins with a new poem by \u003ca href=\"https://en.wikipedia.org/wiki/Wendy_Rose\" target=\"_blank\" rel=\"noopener noreferrer\">Wendy Rose\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13808508\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808508\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200.jpg\" alt=\"Detail of Chris Kabel's 'Wall Space,' showing a new commissioned poem by Wendy Rose.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Chris Kabel’s ‘Wall Space,’ showing a new commissioned poem by Wendy Rose. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Remember invasion / Remember smallpox / Remember captivity,” it reads in part, drawing from Rose’s Hopi and Miwok ancestry to reference a pre-Fort Barry history on a remnant of Fort Barry itself.\u003c/p>\n\u003cp>“I wanted language that would challenge, but also leave room for various interpretations, so that these texts might become site-specific collaborations between single authors and an ever-changing flow of readers,” La Rocco says in her curatorial statement.\u003c/p>\n\u003cp>Back at the drinking fountain, that flow of visitors is met with a welcoming flow of water — a contemporary interpretation of a timeless gathering site. Beyond the slapstick, semi-embarrassing quality of spilling water across one’s face, Lynch is earnest in his desire to foster connection through the act of sharing a water source. “My hope is that this gesture becomes a device for increasing our ability to see one another, whether we share a drink with new friends, lost loves or old enemies,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13808509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-800x450.jpg\" alt=\"Nathan Lynch's 'Doubledrink' at Headlands Center for the Arts.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13808509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Lynch’s ‘Doubledrink’ at Headlands Center for the Arts. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In all my discussions with the artists and administrators behind The Commons, conversation invariably turned to the here and now of 2017 in the United States of America. “This is a surreal year to be contemplating public space, particularly in this country,” La Rocco’s curatorial statement says.\u003c/p>\n\u003cp>The idea of “the commons” as a set of cultural and natural resources free and open to all members of society — or as a place where people meet face to face and exchange ideas — today seems distantly optimistic. And yet maidenberg says the project’s name came early and easily for the gathering space. Right now, maidenberg says, “It feels particularly meaningful to be able to demonstrate our values.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Commons opens at Headlands Center for the Arts in Marin on Saturday, Sept. 17, 12-5pm. For more information, click here.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The Commons, a newly landscaped outdoor space, includes stairs, seats and three new permanent art commissions.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.headlands.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Headlands Center for the Arts\u003c/a> has a new drinking fountain. This is a big deal.\u003c/p>\n\u003cp>Anyone who’s spent time rambling through the Marin Headlands knows sweeping vistas are legion, but drinking fountains are \u003ca href=\"https://ww2.kqed.org/arts/2017/06/15/lets-drink-scenic-water-fountains-and-why-its-radical-to-use-them/\" target=\"_blank\" rel=\"noopener\">few and far between\u003c/a>. Also: this is no ordinary double-spouted bubbler.\u003c/p>\n\u003cp>Made by Bay Area artist \u003ca href=\"http://www.nathanlynch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nathan Lynch\u003c/a>, \u003ci>Doubledrink\u003c/i> is a functional sculpture covered in white industrial glaze — as if a Kohler fixture turned oozy and bulbous. \u003ci>Doubledrink\u003c/i> also makes the act of slurping water more awkward than it has ever possibly been.\u003c/p>\n\u003cp>Lynch positioned the spouts in such a way that simultaneous drinking means staring someone straight in the eyes while you make whatever strange expression you make at the drinking fountain. “It’s like a toast,” he says. An intimate, uncomfortable toast that puts you face-to-face with someone in their most vulnerable state.\u003c/p>\n\u003cfigure id=\"attachment_13808506\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200.jpg\" alt=\"View of The Commons, main plaza at Headlands Center for the Arts.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">View of The Commons, main plaza at Headlands Center for the Arts. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Doubledrink\u003c/i>, along with Dutch artist and designer \u003ca href=\"http://www.chriskabel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Kabel\u003c/a>’s \u003ci>Wall Space\u003c/i> and Los Angeles-based \u003ca href=\"http://www.ball-nogues.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ball-Nogues Studio\u003c/a>’s \u003ci>Welcome Terrace East & West\u003c/i>, is a brand new commission created specially for Headlands’ brand new outdoor gathering space, called \u003ca href=\"http://www.headlands.org/the-commons/\" target=\"_blank\" rel=\"noopener noreferrer\">The Commons\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once a gravelly parking area between Buildings 944 and 945 (home to administrative offices, a project space, the mess hall and artist studios), the Commons is now gracefully landscaped into stairs, seating and jutting concrete vantage points, courtesy of local firm \u003ca href=\"http://www.cmgsite.com\" target=\"_blank\" rel=\"noopener noreferrer\">CMG Landscape Architecture\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13808507\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808507\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200.jpg\" alt=\"Aerial view of The Commons, main plaza.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Aerial view of The Commons, main plaza. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Headlands celebrates the opening of The Commons on Sunday, Sept. 17, 12-5pm with a day of performances, installations, food trucks, family-friendly activities and even a pedal-in (a group bike ride from San Francisco, led by the \u003ca href=\"http://www.studioforurbanprojects.org/projects/pedal-in/\" target=\"_blank\" rel=\"noopener noreferrer\">Studio for Urban Projects\u003c/a>).\u003c/p>\n\u003cp>The $1.8 million project was born out of both practical and artistic desires. “Given our home here in the national park, a big part of our commitment to the park is to take care of the campus,” says Headlands’ executive director, sharon maidenberg. “We felt strongly that we should focus on a project that enhances the space for visitors and makes it more accessible.”\u003c/p>\n\u003cfigure id=\"attachment_13808511\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808511\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200.jpg\" alt=\"'Welcome Terrace East & West,' a site-specific work by Ball-Nogues Studio.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Welcome Terrace East & West,’ a site-specific work by Ball-Nogues Studio. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nothing embodies this balance of preservation and creative improvement quite like the newly flush driveways in front of both main buildings. Inspired by the Japanese art of kintsugi, in which broken pottery is mended with lacquer mixed with powdered gold, silver or platinum, making the site of repair obvious, \u003ci>Welcome Terrace East & West\u003c/i> fills the areas between the old fragments of concrete with brilliant multicolored stripes of terrazzo. The result is archeological and puzzle-like, with islands of gray concrete showing just how much solid ground was missing before Ball-Nogues Studio intervened.\u003c/p>\n\u003cp>Kabel’s \u003ci>Wall Space\u003c/i> is similarly subtle: A system of slim rails on Building 945’s wooden siding supports metal mesh letters — painted the same color as the wall — that can be arranged, movie marquee-style, between the windows of the building’s three stories.\u003c/p>\n\u003cp>“It’s an empty slate that other people can use to express their thoughts,” Kabel says. “I was interested in being as minimal as possible.” Headlands invited San Francisco-based writer \u003ca href=\"https://openspace.sfmoma.org/author/claudialarocco/\" target=\"_blank\" rel=\"noopener noreferrer\">Claudia La Rocco\u003c/a> to curate the first round of texts, which begins with a new poem by \u003ca href=\"https://en.wikipedia.org/wiki/Wendy_Rose\" target=\"_blank\" rel=\"noopener noreferrer\">Wendy Rose\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13808508\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808508\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200.jpg\" alt=\"Detail of Chris Kabel's 'Wall Space,' showing a new commissioned poem by Wendy Rose.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Chris Kabel’s ‘Wall Space,’ showing a new commissioned poem by Wendy Rose. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Remember invasion / Remember smallpox / Remember captivity,” it reads in part, drawing from Rose’s Hopi and Miwok ancestry to reference a pre-Fort Barry history on a remnant of Fort Barry itself.\u003c/p>\n\u003cp>“I wanted language that would challenge, but also leave room for various interpretations, so that these texts might become site-specific collaborations between single authors and an ever-changing flow of readers,” La Rocco says in her curatorial statement.\u003c/p>\n\u003cp>Back at the drinking fountain, that flow of visitors is met with a welcoming flow of water — a contemporary interpretation of a timeless gathering site. Beyond the slapstick, semi-embarrassing quality of spilling water across one’s face, Lynch is earnest in his desire to foster connection through the act of sharing a water source. “My hope is that this gesture becomes a device for increasing our ability to see one another, whether we share a drink with new friends, lost loves or old enemies,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13808509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-800x450.jpg\" alt=\"Nathan Lynch's 'Doubledrink' at Headlands Center for the Arts.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13808509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Lynch’s ‘Doubledrink’ at Headlands Center for the Arts. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In all my discussions with the artists and administrators behind The Commons, conversation invariably turned to the here and now of 2017 in the United States of America. “This is a surreal year to be contemplating public space, particularly in this country,” La Rocco’s curatorial statement says.\u003c/p>\n\u003cp>The idea of “the commons” as a set of cultural and natural resources free and open to all members of society — or as a place where people meet face to face and exchange ideas — today seems distantly optimistic. And yet maidenberg says the project’s name came early and easily for the gathering space. Right now, maidenberg says, “It feels particularly meaningful to be able to demonstrate our values.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Commons opens at Headlands Center for the Arts in Marin on Saturday, Sept. 17, 12-5pm. For more information, click here.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Sept. 15-27:\u003c/strong> \u003ca href=\"http://www.taylormac.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac’s\u003c/a>\u003cem> 24-Decade History of Popular Music\u003c/em> is perhaps the most ambitious of the shows we’re previewing this week on the Do List. It’s a solo piece (albeit with a small orchestra backing the songs), but Mac sings and lectures his way through the full span of American history, focusing on its hypocrisies, betrayals and unfulfilled promises as portrayed in songs from “Yankee Doodle” to “Amazing Grace.” This is what Mac calls a “radical faerie” take on the subject, meaning Mac mixes radical left-wing politics with a radical sense of humor, and what the \u003cem>New York Times\u003c/em>‘ critic Wesley Morris calls a “a radical sense of beauty.” Mac towers over the stage in heels and sparkly costumes, topped by giant feathered headdresses à la Carmen Miranda. But beware, he plays theater games too, with lots of audience involvement. Mac is as happy to annoy you as thrill you with this musical, as long you leave the theater feeling something. For his four nights at the Curran Theater (Sept. 15–24), \u003ca href=\"https://sfcurran.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a> For his abridged three-hour version of the show at Bing Concert Hall at Stanford, \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JHSaoMVqta4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Sept. 15-27:\u003c/strong> \u003ca href=\"http://www.taylormac.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac’s\u003c/a>\u003cem> 24-Decade History of Popular Music\u003c/em> is perhaps the most ambitious of the shows we’re previewing this week on the Do List. It’s a solo piece (albeit with a small orchestra backing the songs), but Mac sings and lectures his way through the full span of American history, focusing on its hypocrisies, betrayals and unfulfilled promises as portrayed in songs from “Yankee Doodle” to “Amazing Grace.” This is what Mac calls a “radical faerie” take on the subject, meaning Mac mixes radical left-wing politics with a radical sense of humor, and what the \u003cem>New York Times\u003c/em>‘ critic Wesley Morris calls a “a radical sense of beauty.” Mac towers over the stage in heels and sparkly costumes, topped by giant feathered headdresses à la Carmen Miranda. But beware, he plays theater games too, with lots of audience involvement. Mac is as happy to annoy you as thrill you with this musical, as long you leave the theater feeling something. For his four nights at the Curran Theater (Sept. 15–24), \u003ca href=\"https://sfcurran.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a> For his abridged three-hour version of the show at Bing Concert Hall at Stanford, \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JHSaoMVqta4'\n title='//www.youtube.com/embed/JHSaoMVqta4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On the Do List this week, KQED’s Cy Musiker welcomes co-hosts Rachael Myrow and Gabe Meline for a highly selective preview of the best shows and exhibits of the fall season. (Next week, The Do List picks some of the best upcoming plays.) Listen above for our roundup, and click through the events below for more details.\u003c/p>\n\u003cp>\u003cstrong>Sept. 3:\u003c/strong> \u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The second annual Sonido Clash Music Fest brings dance and alt-Latino music to San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10-11:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVQ9\" target=\"_blank\" rel=\"noopener noreferrer\"> Samantha Bee, a leader of the new wave of political comedy on TV, comes to Stanford and UC Davis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/matt-groening-and-lynda-barry-love-hate-comics-the-friendship-that-would-not-die.php\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Groening and Lynda Barry talk about love, hate and comics at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–23:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVMO\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA presents a new festival featuring dancers and other artists addressing the challenges of citizenship under President Trump\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 20–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVP9\" target=\"_blank\" rel=\"noopener noreferrer\">Ravi Coltrane revisits his father’s most famous and most spiritual music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 22–24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVLs\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Symphony celebrates the 100th birthday of its conductor’s old friend Leonard Bernstein (and we’ll teach you how to pronounce Bernstein’s name correctly)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 21–Dec. 10:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOE\" target=\"_blank\" rel=\"noopener noreferrer\">Women of the gold rush tell their side of the story on the opera stage in a world premiere\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–May 27, 2018\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVOe\" target=\"_blank\" rel=\"noopener noreferrer\">The di Rosa gallery and museum in Napa confronts issues dividing the nation in an age of anxiety\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 2–Nov. 17:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVOn\" target=\"_blank\" rel=\"noopener noreferrer\">A history of the Bracero program at the Napa Valley Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct.–Jan. 2018:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVLl\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose brings the Playa (Burning Man) to the Paseo (downtown San Jose)\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14\u003c/strong>: \u003ca href=\"https://wp.me/p4oi3Y-VVPP\" target=\"_blank\" rel=\"noopener noreferrer\">Wilsen makes chill neo-folk and it’s our cheap under-the-radar show for the fall preview\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVPU\" target=\"_blank\" rel=\"noopener noreferrer\">Solange brings a black feminist message to a sold-out show at the Greek Theatre in Berkeley\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept 13–15: \u003c/strong>\u003ca href=\"http://www.hiyhf.org/san-francisco-map-fair-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">A soiree of real paper maps you can touch at the San Francisco Map Fair\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the Do List this week, KQED’s Cy Musiker welcomes co-hosts Rachael Myrow and Gabe Meline for a highly selective preview of the best shows and exhibits of the fall season. (Next week, The Do List picks some of the best upcoming plays.) Listen above for our roundup, and click through the events below for more details.\u003c/p>\n\u003cp>\u003cstrong>Sept. 3:\u003c/strong> \u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The second annual Sonido Clash Music Fest brings dance and alt-Latino music to San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10-11:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VVQ9\" target=\"_blank\" rel=\"noopener noreferrer\"> Samantha Bee, a leader of the new wave of political comedy on TV, comes to Stanford and UC Davis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 7:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/matt-groening-and-lynda-barry-love-hate-comics-the-friendship-that-would-not-die.php\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Groening and Lynda Barry talk about love, hate and comics at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 14–23:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VVMO\" target=\"_blank\" rel=\"noopener noreferrer\">YBCA presents a new festival featuring dancers and other artists addressing the challenges of citizenship under President Trump\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Solange Knowles was once best known as Beyoncé’s sister, but her album \u003cem>A Seat at the Table \u003c/em>last year made a number of \u003ca href=\"http://www.npr.org/sections/allsongs/2016/12/08/504578775/stephen-thompsons-top-10-albums-of-2016\" target=\"_blank\" rel=\"noopener noreferrer\">Top 10 lists\u003c/a>, and remains a diehard in-house favorite here at KQED Arts. She brings her low-key soul singing to the Greek Theatre in Berkeley this fall, and you may have to scramble for tickets — at press time, it’s just sold out. Show is on Oct. 20; \u003ca href=\"http://thegreekberkeley.com/events/solange/\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YTtrnDbOQAU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>This week, KQED’s Cy Musiker welcomes Marc Bamuthi Joseph, an artist and curator of performing arts at the Yerba Buena Center for the Arts. The two talk about an ancient masquerade tradition, the art and spirit of Oakland, and a joyous juke joint sound. The podcast also features a visit with Chef Joey Altman, and exposes his secret musical life. Listen to the show above, and click through the links below for details.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>July 26-Aug. 26: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/everyone-deserves-a-great-moment/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Making of a Great Moment,\u003c/em> a new play, at Z Space in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 9-Sept. 3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/african-american-history-as-a-homeric-odyssey/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Odyssey\u003c/em> at California Shakespeare Theater\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 16-27:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/dressing-up-to-honor-ancestors-and-the-black-lives-matter-movement/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> Ethos de Masquerade \u003c/em>at the Strand Theater in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 16 & 17\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/the-art-soul-and-spirit-of-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\"> The Art and Soul Festival fills downtown Oakland with big crowds and a joyful spirit\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 17-20:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/uncovering-great-jazz-and-rb-of-the-past/\" target=\"_blank\" rel=\"noopener noreferrer\">The Genius of Ray Charles, Nina Simone, Miles Davis and Muscle Shoals at SFJAZZ in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 18:\u003c/strong> \u003ca href=\"http://www.theindependentsf.com/event/1495109-matthew-sweet-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Matthew Sweet at the Independent \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 18, 24, 25:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/soulful-jook-joint-music-from-quinn-deveaux/%E2%80%8E\" target=\"_blank\" rel=\"noopener noreferrer\"> Bluesman Quinn DeVeaux at the New Parish, Armando’s and the David Brower Center\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>It’s hard to know exactly what to expect at Ethos de Masquerade, even after attending a rehearsal of this dance-theater piece. But one thing is sure: it will be beautifully colorful.\u003c/p>\n\u003cp>Ethos de Masquerade is a co-production of the theater group \u003ca href=\"https://www.camposanto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Campo Santo\u003c/a> and \u003ca href=\"http://www.somarts.org/exhibitions/globalstreetdancemasquerade/\" target=\"_blank\" rel=\"noopener noreferrer\">Global Street Dance Masquerade \u003c/a>about the Black Lives Matter movement, the taboos placed on women, and the AIDS epidemic. There are screen projections of starry nights and pulsing blood cells. There are monologues by Campo Santo members Sean San Jose and Starr Finch, playwright Luis Alfaro, poet Chinaka Hodge and others. And then there are dancers in elaborate full-body costumes that harken back to the ancient African masquerade tradition, designed by Global Dance Street Masquerade member Rashad Pridgen and Mary Hogue.\u003c/p>\n\u003cp>The costumes, Pridgen says, conjure the ancestors or call forth the elements: “The Ethos de Masquerade is us bringing back this traditional element into urban society,” Pridgen explains, “and telling stories to express what’s happening to the community that can’t be said with words.” This week’s Do List co-host Marc Bamuthi Joseph says the rich art of Campo Santo and Global Street Dance Masquerade marks them as civic leaders, “creating context for ritual, and helping us see how we can transform our lives through music, movement, and the magic of the mask.” Ethos de Masquerade runs Aug. 16–27 at The Strand in San Francisco; \u003ca href=\"https://www.facebook.com/events/1503434013028940/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>, and \u003ca href=\"http://ethosdemasquerade.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener noreferrer\">tickets here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Arguably, no single rock musician has had a greater ripple effect on both men’s and women’s fashion than Keith Richards. Things that shouldn’t have made sense — from Nudie suits and scarves as belts, to cheetah-prints and graphic striped trousers mixed with polka dots — always looked effortless on him. Unbeknownst to many at the time, it was Anita Pallenberg’s closet from which Richard was pulling.\u003c/p>\n\u003cp>“As a kid I wanted to dress like Keith Richards, I wasn’t at all interested in women’s fashion, it was guys in bands I wanted to emulate,” British designer Pamela Hogg tells NPR Music. “But it was a long time before I realized Anita was behind all these great looks, they couldn’t help but be influenced by her amazing sense of style, it was contagious.” She and Pallenberg would eventually connect in a coffee shop in Paris in the 1980’s, and their friendship would result in Pallenberg walking Hogg’s runway during London Fashion Week in 2016.\u003c/p>\n\u003cp>When Pallenberg, a German-Italian actress and model, died last week at 73 she was remembered foremost, if headlines are any guide, as The Rolling Stones’ “muse and rock-star girlfriend of Keith Richards. She was, clearly, much more than that — an icon and creator in her own right, the baddest of the bad girls, an incendiary force who helped the Stones \u003cem>become \u003c/em>the Stones. Pallenberg was the one who shook the shy, awkward schoolboys out of the band’s system and helped extricate their inner outlaws. The truth is, it’s hard to imagine what the Rolling Stones would have would have looked like had Pallenberg never made her way backstage at a show in 1965.\u003c/p>\n\u003cfigure id=\"attachment_13478982\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-800x1066.jpg\" alt=\"Keith Richards with Anita Pallenberg in 1970.\" width=\"800\" height=\"1066\" class=\"size-medium wp-image-13478982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Richards with Anita Pallenberg in 1970. \u003ccite>(Mark and Colleen Hayward/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time she moved into an apartment with then-guitarist Brian Jones in 1966, The Rolling Stones had ditched its matching houndstooth coats for a mix of tailored blazers, skinny ties, slacks and polo shirts, in an attempt to out-fab the Fab Four. “The Beatles are all over the place, like a bag of f****** fleas, right? And you’ve got another good band. The thing is not to try and regurgitate the Beatles. So we’re going to have to be the anti-Beatles,” Richards wrote in his 2010 memoir, \u003cem>Life\u003c/em>.\u003c/p>\n\u003cp>From feathered boas, furs, satins and velvets, Pallenberg’s extravagant and imaginative style quickly became the band’s own. “[Anita and Brian] were both dauntless shoppers and excessively vain. Hours and hours were spent putting on clothes and taking them off again. Heaps of scarves, hats, shirts and boots flew out of drawers and trunks. Unending trying on of outfits, primping and sashaying,” Marianne Faithfull, a close friend of Pallenberg’s, wrote in her 2010 autobiography, \u003cem>Faithfull\u003c/em>. “I would sit mesmerized for hours, watching them preening in the mirror, trying on each other’s clothes. All roles and gender would evaporate in these narcissistic performances where Anita would turn Brian into the Sun King, Francoise Hardy or the mirror image of herself.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The contrast of the Stones’ raw, blues-inflected sound with the decadence of their appearance would transform the band into cultural icons, not just pop stars. And unlike artists who come up with new looks for different album cycles, once the Stones began following Pallenberg’s lead, they continued cultivating that singular look for the decades to come. Within the band’s style entity, individual members had nuances — shimmying Mick Jagger, for example, was the more flamboyant of the bunch, while Charlie Watts opted for a more tailored look.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like Faithfull, who wrote that Pallenberg was “dazzling, beautiful, hypnotic and unsettling” and that “other women evaporated next to her,” Hogg concedes that, more than the clothes themselves, it was Pallenberg’s spirit that made her such a phenomenon. “Her personality made her style work, she was a free spirit with only her rules to follow or break. She had natural style, you can’t buy that. You instantly knew you were in the company of a caliber woman.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Anita+Pallenberg+Was+No+Simple+Muse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arguably, no single rock musician has had a greater ripple effect on both men’s and women’s fashion than Keith Richards. Things that shouldn’t have made sense — from Nudie suits and scarves as belts, to cheetah-prints and graphic striped trousers mixed with polka dots — always looked effortless on him. Unbeknownst to many at the time, it was Anita Pallenberg’s closet from which Richard was pulling.\u003c/p>\n\u003cp>“As a kid I wanted to dress like Keith Richards, I wasn’t at all interested in women’s fashion, it was guys in bands I wanted to emulate,” British designer Pamela Hogg tells NPR Music. “But it was a long time before I realized Anita was behind all these great looks, they couldn’t help but be influenced by her amazing sense of style, it was contagious.” She and Pallenberg would eventually connect in a coffee shop in Paris in the 1980’s, and their friendship would result in Pallenberg walking Hogg’s runway during London Fashion Week in 2016.\u003c/p>\n\u003cp>When Pallenberg, a German-Italian actress and model, died last week at 73 she was remembered foremost, if headlines are any guide, as The Rolling Stones’ “muse and rock-star girlfriend of Keith Richards. She was, clearly, much more than that — an icon and creator in her own right, the baddest of the bad girls, an incendiary force who helped the Stones \u003cem>become \u003c/em>the Stones. Pallenberg was the one who shook the shy, awkward schoolboys out of the band’s system and helped extricate their inner outlaws. The truth is, it’s hard to imagine what the Rolling Stones would have would have looked like had Pallenberg never made her way backstage at a show in 1965.\u003c/p>\n\u003cfigure id=\"attachment_13478982\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-800x1066.jpg\" alt=\"Keith Richards with Anita Pallenberg in 1970.\" width=\"800\" height=\"1066\" class=\"size-medium wp-image-13478982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Richards with Anita Pallenberg in 1970. \u003ccite>(Mark and Colleen Hayward/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time she moved into an apartment with then-guitarist Brian Jones in 1966, The Rolling Stones had ditched its matching houndstooth coats for a mix of tailored blazers, skinny ties, slacks and polo shirts, in an attempt to out-fab the Fab Four. “The Beatles are all over the place, like a bag of f****** fleas, right? 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"headTitle": "Is Pharrell, the First Man to Model a Chanel Bag, Pushing Any Boundaries? | KQED",
"content": "\u003cp>Last week, \u003ca href=\"http://www.npr.org/artists/122029835/pharrell-williams\" target=\"_blank\" rel=\"noopener\">Pharrell Williams\u003c/a> made history as the first man to ever front a handbag campaign for Chanel. In a \u003ca href=\"https://www.youtube.com/watch?v=EsrSVuY6Fto\" target=\"_blank\" rel=\"noopener\">video released\u003c/a> by the historic Parisian fashion house, the musician enters an empty soundstage wearing one of the brand’s tweed blazers, while the camera pans to the black alligator and lambskin hobo bag hanging beside him. Though Kristen Stewart, Cara Delevingne and couture muse Caroline de Maigret will also take part in the campaign, Karl Lagerfeld, who has helmed Chanel since 1983, said his intention was to show that the bag can be worn in “many different circumstances.” For instance, by men who may (or may not) be 11-time Grammy winners.\u003c/p>\n\u003cp>The partnership comes as gender binaries have become increasingly conflated on the runways over the past two years. Alessandro Michele’s \u003ca href=\"http://www.vogue.com/fashion-shows/fall-2017-menswear/gucci/slideshow/collection#21\" target=\"_blank\" rel=\"noopener\">Gucci collections\u003c/a> — an androgynous combustion of sequins, lace and all-over mesh — and \u003ca href=\"http://www.vogue.com/fashion-shows/fall-2017-ready-to-wear/calvin-klein#collection\" target=\"_blank\" rel=\"noopener\">Raf Simons’ debut runway for Calvin Klein\u003c/a> in February are two highly successful recent examples that have palpably set a different tone on the red carpet. Comfortably wearing Chanel womenswear isn’t entirely new for Pharrell either; he sported a peach tweed blazer for the 2016 Grammy Awards, walked the Metiers d’Art pre-fall runway in December at the Ritz Paris and regularly piles on the brand’s fine jewelry. He also dipped his toes in the unisex footwear market last year, creating a collection of super-saturated \u003ca href=\"http://footwearnews.com/2015/fashion/athletic-outdoor/pharrells-adidas-originals-supercolor-superstar-pack-19746/\" target=\"_blank\" rel=\"noopener\">Stan Smith sneakers for Adidas\u003c/a>, part of a partnership going back to 2014, that sold out in less than 48 hours.\u003c/p>\n\u003cp>https://www.instagram.com/p/BTm-74alTYt/\u003c/p>\n\u003cp>But Adidas sneakers — which have been part of the hip-hop conversation since before Run DMC’s \u003ca href=\"https://www.youtube.com/watch?v=JNua1lFDuDI\" target=\"_blank\" rel=\"noopener\">1986 song “My Adidas”\u003c/a> — are one thing. That the guy who got his start as one-half of the Neptunes and subsequently went on to produce music for Jay Z is suggesting straight men can and \u003cem>should\u003c/em> make their girlfriend’s handbag their own? It goes completely against the historically masculine core and “the clearly defined gender roles within the hip-hop world,” says Elena Romero, an Adjunct Assistant Professor at the Fashion Institute of Technology and the author of \u003cem>Free Stylin’: How Hip Hop Changed the Fashion Industry\u003c/em>.\u003c/p>\n\u003cp>You could argue that Pharrell’s Chanel is yet another thread woven into the long-established practice of male hip-hop artists challenging – or reorienting — gender identity and the associations of certain pieces by incorporating traditionally female elements into their aesthetic. Take, for example, the diamond studs that became a symbol of machismo and success in the 90’s when worn by hip-hop moguls like P. Diddy, Tupac and Jay Z. The adoption of skinny jeans in lieu of the oversized is another far-reaching, highly noticeable shift. Lace, which was historically worn by men in the 17th century to connote wealth and later\u003cstrong> \u003c/strong>came to epitomize bridal femininity, became bohemian when worn by Jimi Hendrix and flamboyant through Prince. But it was Wiz Khalifa, a burgeoning style star with a street-meets-stoner flare, who made the textile edgy when he sported an unbuttoned black lace blouse by Saint Laurent’s Hedi Slimane. (Khalifa’s style consultant \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/6866036/ian-connor-talks-working-kanye-west-waves\" target=\"_blank\" rel=\"noopener\">eventually went to work for Kanye\u003c/a>.) The heavily tattooed Atlanta rapper Young Thug, who has drawn comparisons to Andre 3000, stunned by slipping into a heavily ruffled Alessandro Trincone gown for the \u003ca href=\"https://itunes.apple.com/us/album/jeffery/id1146718343\" target=\"_blank\" rel=\"noopener\">cover of his 2016 mixtape\u003c/a>. And Jaden Smith, who has long promoted the importance of experimenting with personal style, wore head-to-toe womenswear for \u003ca href=\"https://www.fastcompany.com/3055076/jaden-smith-is-the-new-face-of-louis-vuitton-womenswear\" target=\"_blank\" rel=\"noopener\">Louis Vuitton’s Summer/Spring 2016 Final Fantasy-themed campaign\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whether or not you consider each of these to be fashion anomalies, they are all statements on masculinity within the hip-hop world.\u003c/p>\n\u003cp>But should we expect these boundaries to continue blurring? Romero doesn’t think so. “There are several artists who have taken fashion to an extreme — think Pharrell, Kanye, A$AP Rocky. However, eclectic dressing is for a few. I don’t see the average hip-hop head ever wearing skirts or traditional women’s clothes. Most guys look at this as being ‘gay’ and socially unacceptable.”\u003c/p>\n\u003cp>Instead, she points to early female rappers as the ones who had the greatest impact on gender identity. “In the early days of hip-hop, most young ladies dressed like the fellas, myself included. The exception would be the hairstyle and the accessories. We wore brass buckle name belts, shell-top Adidas, colored Lee jeans and Le Tigré shirts, sheepskin coats, and gazelle-style glasses just like the guys,” she says. “To some degree, early women in hip-hop dressed down as a way to fit in with the boys — whether through music, dance, or art. Once able to be comfortable in the spotlight, there was room to experiment.”\u003c/p>\n\u003cp>Essentially, early female hip-hop pioneers wanted to communicate the strength of their lyrical abilities, and therefore downplayed their sexuality as a means of letting their talent shine. Romero cites Roxanne Shante, Salt-N-Pepa, MC Lyte, and Queen Latifah — who brought an afro-centric sensibility — as examples. “Missy Elliot was super sporty,” she says. B-girls like Rokafella, as her name implied, had to ‘Rock like the fellas.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the hip-hop world’s greatest problems, she says, is the over-sexualization of the black body and the notion that “selling sex is equally as important as demonstrating lyrical talent.” So while Pharrell’s decision to proudly wear the $4,000 Chanel handbag hopefully inspires more men to keep experimenting, maybe it’s time for women MC’s to start making their way into menswear campaigns. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+Pharrell%2C+The+First+Man+To+Model+A+Chanel+Bag%2C+Pushing+Any+Boundaries%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, \u003ca href=\"http://www.npr.org/artists/122029835/pharrell-williams\" target=\"_blank\" rel=\"noopener\">Pharrell Williams\u003c/a> made history as the first man to ever front a handbag campaign for Chanel. In a \u003ca href=\"https://www.youtube.com/watch?v=EsrSVuY6Fto\" target=\"_blank\" rel=\"noopener\">video released\u003c/a> by the historic Parisian fashion house, the musician enters an empty soundstage wearing one of the brand’s tweed blazers, while the camera pans to the black alligator and lambskin hobo bag hanging beside him. Though Kristen Stewart, Cara Delevingne and couture muse Caroline de Maigret will also take part in the campaign, Karl Lagerfeld, who has helmed Chanel since 1983, said his intention was to show that the bag can be worn in “many different circumstances.” For instance, by men who may (or may not) be 11-time Grammy winners.\u003c/p>\n\u003cp>The partnership comes as gender binaries have become increasingly conflated on the runways over the past two years. Alessandro Michele’s \u003ca href=\"http://www.vogue.com/fashion-shows/fall-2017-menswear/gucci/slideshow/collection#21\" target=\"_blank\" rel=\"noopener\">Gucci collections\u003c/a> — an androgynous combustion of sequins, lace and all-over mesh — and \u003ca href=\"http://www.vogue.com/fashion-shows/fall-2017-ready-to-wear/calvin-klein#collection\" target=\"_blank\" rel=\"noopener\">Raf Simons’ debut runway for Calvin Klein\u003c/a> in February are two highly successful recent examples that have palpably set a different tone on the red carpet. Comfortably wearing Chanel womenswear isn’t entirely new for Pharrell either; he sported a peach tweed blazer for the 2016 Grammy Awards, walked the Metiers d’Art pre-fall runway in December at the Ritz Paris and regularly piles on the brand’s fine jewelry. He also dipped his toes in the unisex footwear market last year, creating a collection of super-saturated \u003ca href=\"http://footwearnews.com/2015/fashion/athletic-outdoor/pharrells-adidas-originals-supercolor-superstar-pack-19746/\" target=\"_blank\" rel=\"noopener\">Stan Smith sneakers for Adidas\u003c/a>, part of a partnership going back to 2014, that sold out in less than 48 hours.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>But Adidas sneakers — which have been part of the hip-hop conversation since before Run DMC’s \u003ca href=\"https://www.youtube.com/watch?v=JNua1lFDuDI\" target=\"_blank\" rel=\"noopener\">1986 song “My Adidas”\u003c/a> — are one thing. That the guy who got his start as one-half of the Neptunes and subsequently went on to produce music for Jay Z is suggesting straight men can and \u003cem>should\u003c/em> make their girlfriend’s handbag their own? It goes completely against the historically masculine core and “the clearly defined gender roles within the hip-hop world,” says Elena Romero, an Adjunct Assistant Professor at the Fashion Institute of Technology and the author of \u003cem>Free Stylin’: How Hip Hop Changed the Fashion Industry\u003c/em>.\u003c/p>\n\u003cp>You could argue that Pharrell’s Chanel is yet another thread woven into the long-established practice of male hip-hop artists challenging – or reorienting — gender identity and the associations of certain pieces by incorporating traditionally female elements into their aesthetic. Take, for example, the diamond studs that became a symbol of machismo and success in the 90’s when worn by hip-hop moguls like P. Diddy, Tupac and Jay Z. The adoption of skinny jeans in lieu of the oversized is another far-reaching, highly noticeable shift. Lace, which was historically worn by men in the 17th century to connote wealth and later\u003cstrong> \u003c/strong>came to epitomize bridal femininity, became bohemian when worn by Jimi Hendrix and flamboyant through Prince. But it was Wiz Khalifa, a burgeoning style star with a street-meets-stoner flare, who made the textile edgy when he sported an unbuttoned black lace blouse by Saint Laurent’s Hedi Slimane. (Khalifa’s style consultant \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/6866036/ian-connor-talks-working-kanye-west-waves\" target=\"_blank\" rel=\"noopener\">eventually went to work for Kanye\u003c/a>.) The heavily tattooed Atlanta rapper Young Thug, who has drawn comparisons to Andre 3000, stunned by slipping into a heavily ruffled Alessandro Trincone gown for the \u003ca href=\"https://itunes.apple.com/us/album/jeffery/id1146718343\" target=\"_blank\" rel=\"noopener\">cover of his 2016 mixtape\u003c/a>. And Jaden Smith, who has long promoted the importance of experimenting with personal style, wore head-to-toe womenswear for \u003ca href=\"https://www.fastcompany.com/3055076/jaden-smith-is-the-new-face-of-louis-vuitton-womenswear\" target=\"_blank\" rel=\"noopener\">Louis Vuitton’s Summer/Spring 2016 Final Fantasy-themed campaign\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whether or not you consider each of these to be fashion anomalies, they are all statements on masculinity within the hip-hop world.\u003c/p>\n\u003cp>But should we expect these boundaries to continue blurring? Romero doesn’t think so. “There are several artists who have taken fashion to an extreme — think Pharrell, Kanye, A$AP Rocky. However, eclectic dressing is for a few. I don’t see the average hip-hop head ever wearing skirts or traditional women’s clothes. Most guys look at this as being ‘gay’ and socially unacceptable.”\u003c/p>\n\u003cp>Instead, she points to early female rappers as the ones who had the greatest impact on gender identity. “In the early days of hip-hop, most young ladies dressed like the fellas, myself included. The exception would be the hairstyle and the accessories. We wore brass buckle name belts, shell-top Adidas, colored Lee jeans and Le Tigré shirts, sheepskin coats, and gazelle-style glasses just like the guys,” she says. “To some degree, early women in hip-hop dressed down as a way to fit in with the boys — whether through music, dance, or art. Once able to be comfortable in the spotlight, there was room to experiment.”\u003c/p>\n\u003cp>Essentially, early female hip-hop pioneers wanted to communicate the strength of their lyrical abilities, and therefore downplayed their sexuality as a means of letting their talent shine. Romero cites Roxanne Shante, Salt-N-Pepa, MC Lyte, and Queen Latifah — who brought an afro-centric sensibility — as examples. “Missy Elliot was super sporty,” she says. B-girls like Rokafella, as her name implied, had to ‘Rock like the fellas.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of the hip-hop world’s greatest problems, she says, is the over-sexualization of the black body and the notion that “selling sex is equally as important as demonstrating lyrical talent.” So while Pharrell’s decision to proudly wear the $4,000 Chanel handbag hopefully inspires more men to keep experimenting, maybe it’s time for women MC’s to start making their way into menswear campaigns. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+Pharrell%2C+The+First+Man+To+Model+A+Chanel+Bag%2C+Pushing+Any+Boundaries%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Straight-leg. Five-pocket. Medium-blue. And for the finishing touch, a “caked-on muddy coating.”\u003c/p>\n\u003cp>For just $425, \u003ca href=\"http://shop.nordstrom.com/s/prps-barracuda-straight-leg-jeans/4457245\" target=\"_blank\" rel=\"noopener\">these PRPS jeans\u003c/a> can be yours.\u003c/p>\n\u003cp>But you can make fun of them free. And that’s a bargain the Internet couldn’t pass up.\u003c/p>\n\u003cp>Now-deleted reviews on Nordstrom’s site celebrated the way the jeans mimicked the fruits of hard labor, “without ever having to leave my BMW.” “Perfectly match my stick on calluses,” one user wrote.\u003c/p>\n\u003cp>On social media, countless people made the same joke: Heck, \u003cem>I’ll\u003c/em> sell you pants like that …\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pants, according to their description on the Nordstrom site, “embody rugged, Americana workwear that’s seen some hard-working action” and show “you’re not afraid to get down and dirty.” Except, of course, the pants have never seen action and the wearer only \u003cem>looks \u003c/em>dirty. (The look is pretty convincing, though; there’s even some shine on that mud.)\u003c/p>\n\u003cp>Mike Rowe, the former host of \u003cem>Dirty Jobs \u003c/em>and a longtime advocate for the value of skilled trades, had one of the most popular, and most thoughtful, responses.\u003c/p>\n\u003cp>He noted that the fake-dirty jeans seem to value the \u003cem>idea \u003c/em>of work. “What they don’t value — obviously — is authenticity,” he \u003ca href=\"https://www.facebook.com/TheRealMikeRowe/posts/1512621355414669\" target=\"_blank\" rel=\"noopener\">wrote on Facebook\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“But forget the jeans themselves for a moment, and their price, and look again at the actual description. ‘Rugged Americana’ is now synonymous with a ‘caked-on, muddy coating.’ Not real mud. Fake mud. Something to foster the illusion of work. The illusion of effort. Or perhaps, for those who actually buy them, the illusion of sanity.\u003c/p>\n\u003cp>“The Barracuda Straight Leg Jeans aren’t pants. They’re not even fashion. They’re a costume for wealthy people who see work as ironic — not iconic.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The jeans aren’t alone. PRPS, a premium denim brand known for its “heavily distressed” styles, offers other besmirched denim options, including a pair of pants “prominently defined” by \u003ca href=\"http://shop.nordstrom.com/s/prps-demon-slim-straight-leg-jeans/4457246?origin=keywordsearch-personalizedsort&fashioncolor=INDIGO\" target=\"_blank\" rel=\"noopener\">dirt smudges\u003c/a> and a “\u003ca href=\"http://shop.nordstrom.com/s/prps-mud-denim-jacket/4457254?origin=keywordsearch-personalizedsort&fashioncolor=INDIGO\" target=\"_blank\" rel=\"noopener\">mud denim jacket\u003c/a>” with “caked-on and baked-in muddy smears.” There are pants \u003ca href=\"http://shop.nordstrom.com/s/prps-barracuda-destroyed-straight-leg-jeans/4457247\" target=\"_blank\" rel=\"noopener\">destroyed\u003c/a> to the point of being “abstract art.”\u003c/p>\n\u003cp>Speaking of which, if you’d rather imitate a \u003cem>different \u003c/em>kind of work, you can purchase “slouchy joggers” \u003ca href=\"http://shop.nordstrom.com/s/prps-damiana-splatter-paint-stretch-woven-jogger-pants/4351559\" target=\"_blank\" rel=\"noopener\">with paint splatters\u003c/a> that look “as though they stepped straight out of the art studio.”\u003c/p>\n\u003cp>And if your first thought was, “just $425? Do they have anything pricier?” … well, yes. It’s not available on Nordstrom’s site, but PRPS does sell \u003ca href=\"https://www.prpsjeans.com/collections/prps-noir/products/demon-selvedge-spectrum?variant=31558021129\" target=\"_blank\" rel=\"noopener\">$900 selvedge jeans\u003c/a> with distinctly dirtlike stains.\u003c/p>\n\u003cp>The fake-mud-splattered PRPS jeans aren’t new; the look was featured in PRPS’s \u003ca href=\"http://shop.nordstrom.com/s/prps-damiana-splatter-paint-stretch-woven-jogger-pants/4351559\" target=\"_blank\" rel=\"noopener\">fall 2016 lineup\u003c/a>, though they didn’t hit the spotlight until this week.\u003c/p>\n\u003cp>“In all honesty, PRPS have been making jeans like this, with mud, oil, dirt, paint, distressing on mammoth scales for many years, and nobody has really spoken out about it,” says Lorna Burford, founder and editor of \u003ca href=\"http://thejeansblog.com/\" target=\"_blank\" rel=\"noopener\">The Jeans Blog\u003c/a>.\u003c/p>\n\u003cp>And the price tag, while high for premium denim, is pretty average for PRPS, she says. Burford thinks Nordstrom’s description of the jeans — actually invoking hard labor in the ad copy — might have been the reason these particular pants have taken so much flak.\u003c/p>\n\u003cp>Pricey dirty clothes aren’t just a premium-denim issue.\u003c/p>\n\u003cp>In \u003ca href=\"https://researchbank.rmit.edu.au/eserv/rmit:12001/Rhodes.pdf\" target=\"_blank\" rel=\"noopener\">a 2010 thesis\u003c/a> on “dressing poor,” Australian curator and editor Kate Louise Rhodes described the political implications of dirt “worn as a deliberate accessory” in high fashion.\u003c/p>\n\u003cp>She traced a brief history, from the intentional stains of Vivienne Westwood and Malcolm McLaren in the ’70s to literally moldy couture presented by Martin Margiela in the late ’90s — and countless examples of fake-torn or fake-stained garments.\u003c/p>\n\u003cp>Rhodes argued that such looks can generate an “aura of authenticity” while raising philosophical and moral questions about what it means to be mimicking stereotypes of poverty in the expensive world of high fashion.\u003c/p>\n\u003cp>Nordstorm has not responded to NPR’s inquiries. A spokesman for PRPS said the brand is not available for comment.\u003c/p>\n\u003cp>But the denim line provides a hint at its philosophy \u003ca href=\"https://www.prpsjeans.com/pages/about-us\">on its website\u003c/a> — where the idea of craft, precision and meticulous detail is applied to tears and smears.\u003c/p>\n\u003cp>“Each loving stitch and rip suggests a job well done,” PRPS writes at one point. At another, it says garments “stitch the soul of ancestral American jeans … onto modern silhouettes that bear the old stains proudly.”\u003c/p>\n\u003cp>And then there’s that pesky word: authenticity. The word pops up \u003ca href=\"https://twitter.com/ORMMexico/status/10039322084\">again\u003c/a> and \u003ca href=\"https://probusnyc.com/collections/prps-jeans\">again\u003c/a> as PRPS founder Donwan Harrell \u003ca href=\"https://denimology.com/2011/03/qa_with_donwan_harrell_-_founder_and_designer_of_prps_jeans_not_ready\">describes his values\u003c/a>.\u003c/p>\n\u003cp>The brand uses denim woven on vintage looms. Harrell started it in response to what he \u003ca href=\"http://www.gq-magazine.co.uk/article/japanese-selvedge-jeans-prps-denim-expert\">saw\u003c/a> as a lack\u003cem> \u003c/em>of “authentic” jeans on the market. Even the name — PRPS, as in Purpose — is a callback to a time when jeans were designed as workwear, with a real function.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=cj5UTzVP6fE\">an interview last year\u003c/a>, Harrell invoked authenticity — or the emulation thereof — as a core design principle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Every significant detail within the jean is built for the purpose of looking authentic,” he said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+High+Price+Of+Fake+Authenticity%3A+%24425+%27Muddy%27+Jeans+Inspire+Mockery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "This week, the Internet discovered that Nordstrom sells premium denim with a \"crackled, caked-on muddy coating\" — that is, fake dirt. Former \u003cem>Dirty Jobs\u003c/em> host Mike Rowe had some thoughts about that.",
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"title": "The High Price of Fake Authenticity: $425 'Muddy' Jeans Inspire Mockery | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Straight-leg. Five-pocket. Medium-blue. And for the finishing touch, a “caked-on muddy coating.”\u003c/p>\n\u003cp>For just $425, \u003ca href=\"http://shop.nordstrom.com/s/prps-barracuda-straight-leg-jeans/4457245\" target=\"_blank\" rel=\"noopener\">these PRPS jeans\u003c/a> can be yours.\u003c/p>\n\u003cp>But you can make fun of them free. And that’s a bargain the Internet couldn’t pass up.\u003c/p>\n\u003cp>Now-deleted reviews on Nordstrom’s site celebrated the way the jeans mimicked the fruits of hard labor, “without ever having to leave my BMW.” “Perfectly match my stick on calluses,” one user wrote.\u003c/p>\n\u003cp>On social media, countless people made the same joke: Heck, \u003cem>I’ll\u003c/em> sell you pants like that …\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pants, according to their description on the Nordstrom site, “embody rugged, Americana workwear that’s seen some hard-working action” and show “you’re not afraid to get down and dirty.” Except, of course, the pants have never seen action and the wearer only \u003cem>looks \u003c/em>dirty. (The look is pretty convincing, though; there’s even some shine on that mud.)\u003c/p>\n\u003cp>Mike Rowe, the former host of \u003cem>Dirty Jobs \u003c/em>and a longtime advocate for the value of skilled trades, had one of the most popular, and most thoughtful, responses.\u003c/p>\n\u003cp>He noted that the fake-dirty jeans seem to value the \u003cem>idea \u003c/em>of work. “What they don’t value — obviously — is authenticity,” he \u003ca href=\"https://www.facebook.com/TheRealMikeRowe/posts/1512621355414669\" target=\"_blank\" rel=\"noopener\">wrote on Facebook\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“But forget the jeans themselves for a moment, and their price, and look again at the actual description. ‘Rugged Americana’ is now synonymous with a ‘caked-on, muddy coating.’ Not real mud. Fake mud. Something to foster the illusion of work. The illusion of effort. Or perhaps, for those who actually buy them, the illusion of sanity.\u003c/p>\n\u003cp>“The Barracuda Straight Leg Jeans aren’t pants. They’re not even fashion. They’re a costume for wealthy people who see work as ironic — not iconic.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The jeans aren’t alone. PRPS, a premium denim brand known for its “heavily distressed” styles, offers other besmirched denim options, including a pair of pants “prominently defined” by \u003ca href=\"http://shop.nordstrom.com/s/prps-demon-slim-straight-leg-jeans/4457246?origin=keywordsearch-personalizedsort&fashioncolor=INDIGO\" target=\"_blank\" rel=\"noopener\">dirt smudges\u003c/a> and a “\u003ca href=\"http://shop.nordstrom.com/s/prps-mud-denim-jacket/4457254?origin=keywordsearch-personalizedsort&fashioncolor=INDIGO\" target=\"_blank\" rel=\"noopener\">mud denim jacket\u003c/a>” with “caked-on and baked-in muddy smears.” There are pants \u003ca href=\"http://shop.nordstrom.com/s/prps-barracuda-destroyed-straight-leg-jeans/4457247\" target=\"_blank\" rel=\"noopener\">destroyed\u003c/a> to the point of being “abstract art.”\u003c/p>\n\u003cp>Speaking of which, if you’d rather imitate a \u003cem>different \u003c/em>kind of work, you can purchase “slouchy joggers” \u003ca href=\"http://shop.nordstrom.com/s/prps-damiana-splatter-paint-stretch-woven-jogger-pants/4351559\" target=\"_blank\" rel=\"noopener\">with paint splatters\u003c/a> that look “as though they stepped straight out of the art studio.”\u003c/p>\n\u003cp>And if your first thought was, “just $425? Do they have anything pricier?” … well, yes. It’s not available on Nordstrom’s site, but PRPS does sell \u003ca href=\"https://www.prpsjeans.com/collections/prps-noir/products/demon-selvedge-spectrum?variant=31558021129\" target=\"_blank\" rel=\"noopener\">$900 selvedge jeans\u003c/a> with distinctly dirtlike stains.\u003c/p>\n\u003cp>The fake-mud-splattered PRPS jeans aren’t new; the look was featured in PRPS’s \u003ca href=\"http://shop.nordstrom.com/s/prps-damiana-splatter-paint-stretch-woven-jogger-pants/4351559\" target=\"_blank\" rel=\"noopener\">fall 2016 lineup\u003c/a>, though they didn’t hit the spotlight until this week.\u003c/p>\n\u003cp>“In all honesty, PRPS have been making jeans like this, with mud, oil, dirt, paint, distressing on mammoth scales for many years, and nobody has really spoken out about it,” says Lorna Burford, founder and editor of \u003ca href=\"http://thejeansblog.com/\" target=\"_blank\" rel=\"noopener\">The Jeans Blog\u003c/a>.\u003c/p>\n\u003cp>And the price tag, while high for premium denim, is pretty average for PRPS, she says. Burford thinks Nordstrom’s description of the jeans — actually invoking hard labor in the ad copy — might have been the reason these particular pants have taken so much flak.\u003c/p>\n\u003cp>Pricey dirty clothes aren’t just a premium-denim issue.\u003c/p>\n\u003cp>In \u003ca href=\"https://researchbank.rmit.edu.au/eserv/rmit:12001/Rhodes.pdf\" target=\"_blank\" rel=\"noopener\">a 2010 thesis\u003c/a> on “dressing poor,” Australian curator and editor Kate Louise Rhodes described the political implications of dirt “worn as a deliberate accessory” in high fashion.\u003c/p>\n\u003cp>She traced a brief history, from the intentional stains of Vivienne Westwood and Malcolm McLaren in the ’70s to literally moldy couture presented by Martin Margiela in the late ’90s — and countless examples of fake-torn or fake-stained garments.\u003c/p>\n\u003cp>Rhodes argued that such looks can generate an “aura of authenticity” while raising philosophical and moral questions about what it means to be mimicking stereotypes of poverty in the expensive world of high fashion.\u003c/p>\n\u003cp>Nordstorm has not responded to NPR’s inquiries. A spokesman for PRPS said the brand is not available for comment.\u003c/p>\n\u003cp>But the denim line provides a hint at its philosophy \u003ca href=\"https://www.prpsjeans.com/pages/about-us\">on its website\u003c/a> — where the idea of craft, precision and meticulous detail is applied to tears and smears.\u003c/p>\n\u003cp>“Each loving stitch and rip suggests a job well done,” PRPS writes at one point. At another, it says garments “stitch the soul of ancestral American jeans … onto modern silhouettes that bear the old stains proudly.”\u003c/p>\n\u003cp>And then there’s that pesky word: authenticity. The word pops up \u003ca href=\"https://twitter.com/ORMMexico/status/10039322084\">again\u003c/a> and \u003ca href=\"https://probusnyc.com/collections/prps-jeans\">again\u003c/a> as PRPS founder Donwan Harrell \u003ca href=\"https://denimology.com/2011/03/qa_with_donwan_harrell_-_founder_and_designer_of_prps_jeans_not_ready\">describes his values\u003c/a>.\u003c/p>\n\u003cp>The brand uses denim woven on vintage looms. Harrell started it in response to what he \u003ca href=\"http://www.gq-magazine.co.uk/article/japanese-selvedge-jeans-prps-denim-expert\">saw\u003c/a> as a lack\u003cem> \u003c/em>of “authentic” jeans on the market. Even the name — PRPS, as in Purpose — is a callback to a time when jeans were designed as workwear, with a real function.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=cj5UTzVP6fE\">an interview last year\u003c/a>, Harrell invoked authenticity — or the emulation thereof — as a core design principle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Every significant detail within the jean is built for the purpose of looking authentic,” he said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+High+Price+Of+Fake+Authenticity%3A+%24425+%27Muddy%27+Jeans+Inspire+Mockery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Fabricating 'Truth,' One Tin Can Bracelet at a Time",
"headTitle": "Fabricating ‘Truth,’ One Tin Can Bracelet at a Time | KQED",
"content": "\u003cp>In the process of creating a new piece for her recycled fruit crate label series entitled \u003ca href=\"http://harrieteestelberman.com/truth-california-collection\" target=\"_blank\" rel=\"noopener\">\u003cem>The California Collection\u003c/em>\u003c/a>, San Mateo artist \u003ca href=\"http://harrieteestelberman.com/\" target=\"blank\" rel=\"noopener\">Harriete Estel Berman\u003c/a> found herself drawn to a simply-designed 1930s Sunkist label.\u003c/p>\n\u003cp>Most historic fruit crate labels were typically embellished with images and illustrations that marketed their wares. But the Sunkist label just read “truth,” in a striking golden font.\u003c/p>\n\u003cfigure id=\"attachment_13008673\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13008673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label.jpg\" alt=\"The 1930 Gavilan Citrus Association's "Truth" fruit crate label which inspired Berman's project.\" width=\"500\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-240x222.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-375x347.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">The 1930 Gavilan Citrus Association’s “Truth” fruit crate label which inspired Berman’s project. \u003ccite>(Courtesy of Harriete Estel Berman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In a time when truth was a terribly powerful concept, I felt like it needed nothing else, so I put it away,” Berman says. “But three years later, after the election with 45 — President Donald Trump — we’re faced with this new reality which seems to get worse all the time.” She says the Trump administration’s cries of “\u003ca href=\"http://www.kqed.org/news/story/2017/02/17/226641/with_fake_news_trump_moves_from_alternative_facts_to?source=npr&category=politics\" target=\"_blank\" rel=\"noopener\">fake news\u003c/a>” and alternative facts have made her realize truth was not quite as absolute as she thought it once was.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For the past three decades, Berman has created recycled sculptures and jewelry imbued with critical commentary on everything from \u003ca href=\"http://harrieteestelberman.com/checking-the-cost-of-gun-violence\" target=\"_blank\" rel=\"noopener\">gun violence\u003c/a> to the \u003ca href=\"http://harrieteestelberman.com/identity-bracelets-1\" target=\"_blank\" rel=\"noopener\">creation of identity\u003c/a> within consumer society. \u003cspan style=\"font-weight: 400\">Her \u003cem>California Collection\u003c/em> jewelry series re-purposes fruit crate labels and tin cans to create accessories that reflect on California’s simultaneously consumerist and green culture. Her creative output includes circuit board bracelets inspired by Silicon Valley’s flourishing tech industry and recycled milk bottles transformed into delicately textured jewelry.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in \u003cem>\u003ca href=\"http://harrieteestelberman.com/truth-california-collection\" target=\"_blank\" rel=\"noopener\">Truth\u003c/a>\u003c/em>, the latest addition to her \u003cem>California Collection\u003c/em> series, Berman confronts the current administration’s destabilization of the idea of “truth” \u003cspan style=\"font-weight: 400\">and examines our own responsibility in this new moral climate. \u003c/span>“I’m looking at this word ‘truth’ and I’m here actually, literally fabricating truth – the same way the administration is,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13008674\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13008674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio-.jpg\" alt=\"Harriete in the studio. \" width=\"300\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio-.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio--160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio--240x360.jpg 240w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Harriete in the studio. \u003ccite>(Photo: Aryn Shelander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berman is currently in the process of creating two jewelry pieces that explore the roots of Trump’s current agenda against truth, respectively named \u003cem>Alternative Facts\u003c/em> and \u003cem>Circular Logic. \u003c/em>She spares no symbolism in the construction of each bracelet: \u003cem>Alternative Facts\u003c/em> is formed around a web-like structure echoing the administration’s recent \u003ca href=\"https://ww2.kqed.org/news/2017/03/20/fbi-chief-confirms-agency-is-probing-links-between-russia-trump-associates/\" target=\"_blank\" rel=\"noopener\">web of alleged collusion\u003c/a> with Russia; the face of the bracelet itself is printed with nutritional facts, which Berman considers another instance of “alternative facts” that we experience in our daily lives.\u003c/p>\n\u003cp>Berman’s decades of overtly political work are informed by the historically activist history of jewelry. The artist has taken notes from the patriotic “V for Victory” brooch that was popular during World War II, and peace sign jewelry protesting American involvement in the Vietnam war. Berman believes artists are messengers of a society, as their works are in direct conversation with the values and politics of the current culture.\u003c/p>\n\u003cfigure id=\"attachment_13008675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13008675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-800x450.jpg\" alt='The \"Alternative Facts\" bracelet in progress.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Alternative Facts” bracelet in progress. \u003ccite>(Courtesy of Harriete Estel Berman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">We generally look at past civilizations through their art, from cave paintings to jewelry found at burial sites,” she says.\u003c/span>\u003cb> “\u003c/b>It’s how we evaluate their culture. It’s the most concrete voice that we have.”\u003c/p>\n\u003cp>Berman channels her reflections on politics through making jewelry. But she says the responsibility lies not only on the shoulders of artists to create work that responds to and resists the actions of the current administration.\u003c/p>\n\u003cp>“E\u003cb>\u003cspan style=\"font-weight: 400\">verything is in such an upheaval, and our elected representatives need the support of their constituents,” Berman says. “\u003c/span>\u003c/b>W\u003cb>\u003cspan style=\"font-weight: 400\">e can no longer assume that our government is going to run consistently and fairly without our voice. So you must do anything you can do to raise your voice.”\u003c/span>\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the process of creating a new piece for her recycled fruit crate label series entitled \u003ca href=\"http://harrieteestelberman.com/truth-california-collection\" target=\"_blank\" rel=\"noopener\">\u003cem>The California Collection\u003c/em>\u003c/a>, San Mateo artist \u003ca href=\"http://harrieteestelberman.com/\" target=\"blank\" rel=\"noopener\">Harriete Estel Berman\u003c/a> found herself drawn to a simply-designed 1930s Sunkist label.\u003c/p>\n\u003cp>Most historic fruit crate labels were typically embellished with images and illustrations that marketed their wares. But the Sunkist label just read “truth,” in a striking golden font.\u003c/p>\n\u003cfigure id=\"attachment_13008673\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13008673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label.jpg\" alt=\"The 1930 Gavilan Citrus Association's "Truth" fruit crate label which inspired Berman's project.\" width=\"500\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-240x222.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-375x347.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">The 1930 Gavilan Citrus Association’s “Truth” fruit crate label which inspired Berman’s project. \u003ccite>(Courtesy of Harriete Estel Berman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In a time when truth was a terribly powerful concept, I felt like it needed nothing else, so I put it away,” Berman says. “But three years later, after the election with 45 — President Donald Trump — we’re faced with this new reality which seems to get worse all the time.” She says the Trump administration’s cries of “\u003ca href=\"http://www.kqed.org/news/story/2017/02/17/226641/with_fake_news_trump_moves_from_alternative_facts_to?source=npr&category=politics\" target=\"_blank\" rel=\"noopener\">fake news\u003c/a>” and alternative facts have made her realize truth was not quite as absolute as she thought it once was.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For the past three decades, Berman has created recycled sculptures and jewelry imbued with critical commentary on everything from \u003ca href=\"http://harrieteestelberman.com/checking-the-cost-of-gun-violence\" target=\"_blank\" rel=\"noopener\">gun violence\u003c/a> to the \u003ca href=\"http://harrieteestelberman.com/identity-bracelets-1\" target=\"_blank\" rel=\"noopener\">creation of identity\u003c/a> within consumer society. \u003cspan style=\"font-weight: 400\">Her \u003cem>California Collection\u003c/em> jewelry series re-purposes fruit crate labels and tin cans to create accessories that reflect on California’s simultaneously consumerist and green culture. Her creative output includes circuit board bracelets inspired by Silicon Valley’s flourishing tech industry and recycled milk bottles transformed into delicately textured jewelry.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in \u003cem>\u003ca href=\"http://harrieteestelberman.com/truth-california-collection\" target=\"_blank\" rel=\"noopener\">Truth\u003c/a>\u003c/em>, the latest addition to her \u003cem>California Collection\u003c/em> series, Berman confronts the current administration’s destabilization of the idea of “truth” \u003cspan style=\"font-weight: 400\">and examines our own responsibility in this new moral climate. \u003c/span>“I’m looking at this word ‘truth’ and I’m here actually, literally fabricating truth – the same way the administration is,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13008674\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13008674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio-.jpg\" alt=\"Harriete in the studio. \" width=\"300\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio-.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio--160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio--240x360.jpg 240w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Harriete in the studio. \u003ccite>(Photo: Aryn Shelander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berman is currently in the process of creating two jewelry pieces that explore the roots of Trump’s current agenda against truth, respectively named \u003cem>Alternative Facts\u003c/em> and \u003cem>Circular Logic. \u003c/em>She spares no symbolism in the construction of each bracelet: \u003cem>Alternative Facts\u003c/em> is formed around a web-like structure echoing the administration’s recent \u003ca href=\"https://ww2.kqed.org/news/2017/03/20/fbi-chief-confirms-agency-is-probing-links-between-russia-trump-associates/\" target=\"_blank\" rel=\"noopener\">web of alleged collusion\u003c/a> with Russia; the face of the bracelet itself is printed with nutritional facts, which Berman considers another instance of “alternative facts” that we experience in our daily lives.\u003c/p>\n\u003cp>Berman’s decades of overtly political work are informed by the historically activist history of jewelry. The artist has taken notes from the patriotic “V for Victory” brooch that was popular during World War II, and peace sign jewelry protesting American involvement in the Vietnam war. Berman believes artists are messengers of a society, as their works are in direct conversation with the values and politics of the current culture.\u003c/p>\n\u003cfigure id=\"attachment_13008675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13008675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-800x450.jpg\" alt='The \"Alternative Facts\" bracelet in progress.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Alternative Facts” bracelet in progress. \u003ccite>(Courtesy of Harriete Estel Berman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">We generally look at past civilizations through their art, from cave paintings to jewelry found at burial sites,” she says.\u003c/span>\u003cb> “\u003c/b>It’s how we evaluate their culture. It’s the most concrete voice that we have.”\u003c/p>\n\u003cp>Berman channels her reflections on politics through making jewelry. But she says the responsibility lies not only on the shoulders of artists to create work that responds to and resists the actions of the current administration.\u003c/p>\n\u003cp>“E\u003cb>\u003cspan style=\"font-weight: 400\">verything is in such an upheaval, and our elected representatives need the support of their constituents,” Berman says. “\u003c/span>\u003c/b>W\u003cb>\u003cspan style=\"font-weight: 400\">e can no longer assume that our government is going to run consistently and fairly without our voice. So you must do anything you can do to raise your voice.”\u003c/span>\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
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