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"content": "\u003cp>The words “fashion show” probably conjure images of Anna Wintour’s bob in a front row full of poised celebrities in their finest couture. But FILF, the fashion party and concert in Oakland on Mar. 3, is no New York Fashion Week.\u003c/p>\n\u003cp>Organized by singer-producer Juliet Gordon (formerly of the band \u003ca href=\"https://ww2.kqed.org/arts/2017/12/12/the-10-best-bay-area-albums-of-2017-the-classical-survival-of-the-softest/\" target=\"_blank\" rel=\"noopener\">the Classical\u003c/a>) and a crew of collaborators from Oakland’s underground scene, FILF is part runway show and part genre-bending concert.\u003c/p>\n\u003cp>Performing onstage are devilish post-reggaeton duo \u003ca href=\"https://ww2.kqed.org/arts/2016/05/04/wrecking-the-patriarchy-with-oakland-reggaeton-duo-las-sucias/\" target=\"_blank\" rel=\"noopener\">Las Sucias\u003c/a>; \u003ca href=\"https://soundcloud.com/l_f_c\" target=\"_blank\" rel=\"noopener\">LFC\u003c/a>, a collaboration between electronic musicians and drag performers \u003ca href=\"https://ww2.kqed.org/arts/2017/11/16/tyler-holmes-is-here-for-your-inner-freak/\" target=\"_blank\" rel=\"noopener\">Tyler Holmes\u003c/a> (pictured above) and Vain Hein; Gordon’s new band, Luxury Skin; lo-fi electro-punk band No-Ya; and Rosé, a new dance music project with members of Dingbat Superminx. In the mix is DJ Namaste Shawty, host of the spirituality-themed show \u003ca href=\"https://soundcloud.com/namasteshawty/sets/las-brujas-radio\" target=\"_blank\" rel=\"noopener\">Las Brujas\u003c/a> on Lower Grand Radio, as well as DJs Diety and Katsy Pline.\u003c/p>\n\u003cp>Rounding out the night’s fashion is work from over a dozen local fashion designers, including airbrush king \u003ca href=\"http://www.malcolmstuart.com\" target=\"_blank\" rel=\"noopener\">Malcolm Stuart\u003c/a>, an Oakland native who’s created collections for Joy Rich and Ikea; surreal makeup guru and artist \u003ca href=\"http://www.jadervision.com/\" target=\"_blank\" rel=\"noopener\">Jader\u003c/a>; bondage-inspired accessory makers \u003ca href=\"https://www.facebook.com/RichLoveLeather/?fref=mentions&pnref=story\" target=\"_blank\" rel=\"noopener\">Rich Love Leather\u003c/a>; and more.\u003c/p>\n\u003cp>Expect strange designs — and even stranger sounds.\u003c/p>\n\u003cp>[ad fullwidth]\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=\"\" 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>\u003cem>‘FILF’ gets underway Saturday, March 3, at the Starline Social Club in Oakland. \u003ca href=\"https://www.eventbrite.com/e/filf-2-filf-2-fabulous-a-live-fashion-music-event-tickets-42923913581\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The words “fashion show” probably conjure images of Anna Wintour’s bob in a front row full of poised celebrities in their finest couture. But FILF, the fashion party and concert in Oakland on Mar. 3, is no New York Fashion Week.\u003c/p>\n\u003cp>Organized by singer-producer Juliet Gordon (formerly of the band \u003ca href=\"https://ww2.kqed.org/arts/2017/12/12/the-10-best-bay-area-albums-of-2017-the-classical-survival-of-the-softest/\" target=\"_blank\" rel=\"noopener\">the Classical\u003c/a>) and a crew of collaborators from Oakland’s underground scene, FILF is part runway show and part genre-bending concert.\u003c/p>\n\u003cp>Performing onstage are devilish post-reggaeton duo \u003ca href=\"https://ww2.kqed.org/arts/2016/05/04/wrecking-the-patriarchy-with-oakland-reggaeton-duo-las-sucias/\" target=\"_blank\" rel=\"noopener\">Las Sucias\u003c/a>; \u003ca href=\"https://soundcloud.com/l_f_c\" target=\"_blank\" rel=\"noopener\">LFC\u003c/a>, a collaboration between electronic musicians and drag performers \u003ca href=\"https://ww2.kqed.org/arts/2017/11/16/tyler-holmes-is-here-for-your-inner-freak/\" target=\"_blank\" rel=\"noopener\">Tyler Holmes\u003c/a> (pictured above) and Vain Hein; Gordon’s new band, Luxury Skin; lo-fi electro-punk band No-Ya; and Rosé, a new dance music project with members of Dingbat Superminx. In the mix is DJ Namaste Shawty, host of the spirituality-themed show \u003ca href=\"https://soundcloud.com/namasteshawty/sets/las-brujas-radio\" target=\"_blank\" rel=\"noopener\">Las Brujas\u003c/a> on Lower Grand Radio, as well as DJs Diety and Katsy Pline.\u003c/p>\n\u003cp>Rounding out the night’s fashion is work from over a dozen local fashion designers, including airbrush king \u003ca href=\"http://www.malcolmstuart.com\" target=\"_blank\" rel=\"noopener\">Malcolm Stuart\u003c/a>, an Oakland native who’s created collections for Joy Rich and Ikea; surreal makeup guru and artist \u003ca href=\"http://www.jadervision.com/\" target=\"_blank\" rel=\"noopener\">Jader\u003c/a>; bondage-inspired accessory makers \u003ca href=\"https://www.facebook.com/RichLoveLeather/?fref=mentions&pnref=story\" target=\"_blank\" rel=\"noopener\">Rich Love Leather\u003c/a>; and more.\u003c/p>\n\u003cp>Expect strange designs — and even stranger sounds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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=\"\" 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>\u003cem>‘FILF’ gets underway Saturday, March 3, at the Starline Social Club in Oakland. \u003ca href=\"https://www.eventbrite.com/e/filf-2-filf-2-fabulous-a-live-fashion-music-event-tickets-42923913581\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In case you missed it, this week an image appeared in H&M’s online store depicting a young black boy in a hoodie with the words “Coolest Monkey in the Jungle.” The design, which was widely condemned for referencing racial and ethnic slurs, was \u003ca href=\"https://www.nytimes.com/2018/01/08/business/hm-monkey.html\" target=\"_blank\" rel=\"noopener\">swiftly taken down\u003c/a> from H&M’s website and pulled from its brick-mortar-stores after going viral on Monday, Jan. 8.\u003c/p>\n\u003cp>https://twitter.com/theweeknd/status/950447182829699072\u003c/p>\n\u003cp>Though H&M issued an apology, R&B hitmaker \u003ca href=\"https://twitter.com/theweeknd/status/950447182829699072\" target=\"_blank\" rel=\"noopener\">The Weeknd\u003c/a> announced on Twitter that he would no longer work with the company. Today, Oakland-bred rapper G-Eazy followed suit, issuing a lengthy statement terminating his relationship with H&M and calling for H&M and other major brands to become “racially and culturally aware, as well as more diverse at every level.”\u003c/p>\n\u003cp>https://twitter.com/G_Eazy/status/950869643803201537\u003c/p>\n\u003cp>G-Eazy’s decision to step away from H&M is significant, considering it’s the rising star’s first collaboration with a major retailer. He announced his capsule collection, set to hit stores on March 1, in mid-December in tandem with the release of his latest album, \u003cem>The Beautiful & Damned\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though G-Eazy says he was disappointed to scrap the collaboration, this likely won’t be his last opportunity to work in fashion. He’s regarded as a style icon by many (his \u003ca href=\"https://www.highsnobiety.com/2016/12/22/g-eazy-pop-up-shop/\" target=\"_blank\" rel=\"noopener\">2016 Oakland pop-up shop\u003c/a>, where you could copy his look \u003cem>and\u003c/em> his haircut, is proof), and his single “No Limit,” featuring Cardi B and A$AP Rocky, just peaked at No. 2 on Billboard.\u003c/p>\n\u003cp>https://youtu.be/l_lblj8Cq0o\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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": "\u003cp>Rachael Myrow here, pinch hitting for Cy Musiker at the start of 2018. Naturally, I picked a co-host from San Jose to talk about the upcoming concerts and exhibitions we’re most excited about now: Trami Nguyen Cron, author of the book \u003ca href=\"http://www.vietnameazy.com\" target=\"_blank\" rel=\"noopener\">VietnamEazy\u003c/a>, and founder of \u003ca href=\"http://www.chopsticksalley.com\" target=\"_blank\" rel=\"noopener\">Chopsticks Alley\u003c/a>, a non-profit organization featuring Southeast Asian Artists in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/comedy-of-every-stripe-at-sf-sketchfest/\" rel=\"noopener\" target=\"_blank\">Gorge Yourself on Comedy of Every Stripe at SF Sketchfest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 19:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/st-louis-symphony-on-maestros-swan-song-tour/\" rel=\"noopener\" target=\"_blank\">The St. Louis Symphony Goes on Maestro’s Swan Song Tour, Stops at Stanford\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–28: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/african-american-composers-initiative-a-local-musical-gem/\" rel=\"noopener\" target=\"_blank\">The African American Composers Initiative is a Local Musical Gem\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 27–Mar. 25:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/the-propeller-group-brings-an-artistic-view-of-vietnam-to-san-jose/\" rel=\"noopener\" target=\"_blank\">The Propeller Group Explores Vietnam at San Jose Museum of Art\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nov.3–Feb 4:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/korean-couture-pops-on-world-stage/\" rel=\"noopener\" target=\"_blank\">Korean Couture Pops on the World Stage\u003c/a>.\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachael Myrow here, pinch hitting for Cy Musiker at the start of 2018. Naturally, I picked a co-host from San Jose to talk about the upcoming concerts and exhibitions we’re most excited about now: Trami Nguyen Cron, author of the book \u003ca href=\"http://www.vietnameazy.com\" target=\"_blank\" rel=\"noopener\">VietnamEazy\u003c/a>, and founder of \u003ca href=\"http://www.chopsticksalley.com\" target=\"_blank\" rel=\"noopener\">Chopsticks Alley\u003c/a>, a non-profit organization featuring Southeast Asian Artists in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/comedy-of-every-stripe-at-sf-sketchfest/\" rel=\"noopener\" target=\"_blank\">Gorge Yourself on Comedy of Every Stripe at SF Sketchfest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 19:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/st-louis-symphony-on-maestros-swan-song-tour/\" rel=\"noopener\" target=\"_blank\">The St. Louis Symphony Goes on Maestro’s Swan Song Tour, Stops at Stanford\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–28: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/african-american-composers-initiative-a-local-musical-gem/\" rel=\"noopener\" target=\"_blank\">The African American Composers Initiative is a Local Musical Gem\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 27–Mar. 25:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/the-propeller-group-brings-an-artistic-view-of-vietnam-to-san-jose/\" rel=\"noopener\" target=\"_blank\">The Propeller Group Explores Vietnam at San Jose Museum of Art\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We’re all familiar with K-pop by now, but Korean \u003ci>fashion\u003c/i> is on a similar path to world domination — and it’s on the runway, so to speak, at the Asian Art Museum in San Francisco with \u003ca href=\"http://www.asianart.org/exhibitions/couture-korea\" target=\"_blank\" rel=\"noopener\">\u003ci>Couture Korea\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>With more than 120 works, the exhibition is a paean to the exquisite craftsmanship, signature silhouettes and bold aesthetics of Korean clothing from the Joseon dynasty (1392–1910) on.\u003c/p>\n\u003cp>Contemporary designers who’ve been inspired by Korean tradition get a look-see; the high waistlines, flared sleeves and brightly colored patchworks of Karl Lagerfeld’s 2015/16 Cruise Collection for Chanel were influenced by Joseon dynasty fashion and art, such as \u003ci>bojagi\u003c/i> wrapping cloths. Also on view are pieces by pioneering Korean designer Jin Teok, lauded by \u003ci>Vogue\u003c/i>’s Suzy Menkes in a \u003ca href=\"http://www.vogue.co.uk/article/suzy-menkes-couture-korea-from-far-east-to-west-coast\" target=\"_blank\" rel=\"noopener\">must-read review\u003c/a> as a “fashion magician” who evokes the spirit of historical Korean dress with an embroidered top from a wedding robe layered over a washed denim skirt.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=do5aseYQHMU]\u003c/p>\n\u003cp>The exhibition also introduces two younger Seoul-based designers reinterpreting Korean fashion for the 21st century: Im Seonoc and Jung Misun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Couture Korea\u003c/i> is co-organized by the Asian Art Museum of San Francisco and Arumjigi Culture Keepers Foundation in Seoul, Korea. \u003ca href=\"http://www.asianart.org/exhibitions/couture-korea\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cp>John Jota Leaños is raising an army of skeletons against colonialism— at least metaphorically. He’s an animator and filmmaker who’s also directing \u003cem>Imperial Silence: Una Opera Muerta\u003c/em>, a Day of the Dead opera that features animated sugar-skull news anchors on DNN, the Dead News Network, dancers and singers performing story songs like “El Corrido de Pat Tillman.”\u003c/p>\n\u003cp>“We’re in these borderlands,” Leaños says, “in this de-colonial mixed scene, where we get all of these influences and try to make sense of it.” As my co-host A-lan Holt says, Leaños’ work is an “intervention into the long (and often violent) history of tactics used to silence non-white viewpoints in the United States of America.” And there are laughs too. \u003ca href=\"https://www.brava.org/all-events/2017/11/3/imperial-silence-una-pera-muerta\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://vimeo.com/88547672\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\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>[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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"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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"soldout": {
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