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"content": "\u003cp>Sophia Wang emerges from the side of the runway crawling on all fours. With her dark hair creepily combed over her face, her body is completely obscured by a draped, black garment. As she sluggishly traverses the runway, the packed crowd applauds.\u003c/p>\n\u003cp>At this fashion show — plotted by artist Julz Hale Mary — the lights are low, the music is bumping, and the ensembles are meant to visualize various states of mental health, translating feelings into fashion. Here, the outfit worn by Wang represents familiar feelings for many.\u003c/p>\n\u003cp>Julz Hale Mary, a Bay Area multimedia and performance artist who traffics in satire, hyperbole, and drag — and uses the pronoun “they” — named the night \u003cem>Trauma is a Party (of One)\u003c/em>. The concept: an attempt to de-stigmatize and de-pathologize mental health conditions by expressing them artistically as something you wear, then strutting them down a runway — mainly for fun.\u003c/p>\n\u003cp>“Femme people and queers tend to be the ones that are most enmeshed in pathologies of various kinds,” says Mary. “They were heavily stigmatized throughout history, and still to this day, just for being gender variant or not agreeing with the patriarchy — so this is a very deep rich history.\u003c/p>\n\u003cp>“‘Crazy’ is the present-day pathology or stigma, and I wanted to do a show that queered that and celebrated it — since that’s what being queer is all about… and basically I just wanted to look fabulous while doing it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mary has worked at a mental health nonprofit for the past six years, and has been personally engaging in somatic therapy for just as long. Meanwhile, they’ve become a practicing performance artist, both in queer clubs like Aunt Charlie’s and more “fine art spaces” such as the Yerba Buena Center for the Arts. With an assortment of wigs and a saccharine giggle, Mary typically puts live caricatures in comical narratives to bust open heavy subject matter and break down binaries of understanding. In this instance, that’s the dichotomy of “sick” and “sane.”\u003c/p>\n\u003cfigure id=\"attachment_13069644\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13069644\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-800x1120.jpg\" alt=' A look from \"Trauma is a Party (of One).\"' width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-1180x1652.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145.jpg 1463w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A look from “Trauma is a Party (of One).” \u003ccite>(Courtesy ROBERT DIVERS HERRICK. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somatic therapy, too, breaks down the binary between mind and body, treating them as one interconnected system. As Mary describes it from their own experience, patients are encouraged to understand their mental states in terms of the physical symptoms that they feel (rather than simply a diagnosis). “You’re like: ‘[Anxiety] feels really light and airy in my chest, but weighted down at the same time,’” Mary explains. “So the word kind of loses meaning.”\u003c/p>\n\u003cp>Inspired by that technique, Mary imagined what various mental health conditions would look like as ensembles. “I’ve experienced these things in some form or another,” says Mary, “so it was really just like, well, let me just do a little session with myself — dive right into my body and see what’s going on.” Seamstress Bobbi Rohs then actualized the sketches.\u003c/p>\n\u003cp>For models, Mary chose artists that they admire: Wang, Craig Calderwood, Persia, and Titania Kumeh. On the night of the show, though, they’re barely recognizable. Calderwood stalks the stage in a slinky, pink dress surrounded by a see-through plastic box constructed by artist Rik Lee Leipold. Another model emerges in a draped coat made up of a wrapped duvet, then drops it halfway through to reveal a flamboyant spandex outfit and manic dance moves. In another look, the model is covered head to toe (without eyeholes, even) in a long, fitted dress made of fabric covered in cut-outs of what look to be Mary’s anxiously clenched teeth.\u003c/p>\n\u003cfigure id=\"attachment_13077986\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13077986\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/3V4B2689-800x533.jpg\" alt='Titania Kumeh in \"Trauma is a Party (of One).\" ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Titania Kumeh in ‘Trauma is a Party (of One).’ \u003ccite>(Courtesy Shot in the City Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than announcing which outfits are inspired by which pathologies, Mary left those connections intentionally vague in order to eliminate the boxes in which people are placed by mental health professionals. “All of a sudden, it doesn’t look like, maybe, a bipolar person,” says Mary, “it just looks like someone is going through something.”\u003c/p>\n\u003cp>The fashion show was also framed as having been put on by a fictional mental health nonprofit. To that end, Amber Fargano and Vishinna Turner played “Cisters to the Cistem,” a kind of trans-exclusionary girl gang within the workforce that attempted to make all the models “jump through their hoops” — literally, hula hoops. The institutional jab also included a condescending executive director named “Dean Ile” and a villainous head clinician.\u003c/p>\n\u003cp>“There is such a dark reality of this supposedly feel-good nonprofit industrial complex and how it masks power imbalances through messages of equality,” says Mary. “So, I just really wanted to bring this darkness to the screen: The state doesn’t care about you as a client or as a counselor.”\u003c/p>\n\u003cfigure id=\"attachment_13069647\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13069647 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-800x1120.jpg\" alt='A look from \"Trauma is a Party (of One).\"' width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-1180x1652.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250.jpg 1463w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Titania Kumeh in ‘Trauma is a Party (of One).’ \u003ccite>(Courtesy ROBERT DIVERS HERRICK)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The almost absurd dissonance between the subject matter that Mary chooses and their bubbly hilarious approach is a constant within their body of work — and a strategy, they say, to help people acknowledge and process content that might otherwise just shut them down emotionally or simply push them away.\u003c/p>\n\u003cp>“I don’t think fun is bad, it just is another way of coping,” says Mary. “Kids do it all the time, and I was one of those kids, and I think it actually brought me a lot of joy and strength to tap into that playful childlike quality of role play.\u003c/p>\n\u003cp>“I’m not for everyone, but I’m for the people that want a site to process their anger and want to do it in a way that keeps them buoyant and that helps them spiral up rather than spiral down.”\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "At Julz Hale Mary's 'Trauma is a Party (of One),' fashion served to de-stigmatize and de-pathologize mental health conditions by expressing them on the runway.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sophia Wang emerges from the side of the runway crawling on all fours. With her dark hair creepily combed over her face, her body is completely obscured by a draped, black garment. As she sluggishly traverses the runway, the packed crowd applauds.\u003c/p>\n\u003cp>At this fashion show — plotted by artist Julz Hale Mary — the lights are low, the music is bumping, and the ensembles are meant to visualize various states of mental health, translating feelings into fashion. Here, the outfit worn by Wang represents familiar feelings for many.\u003c/p>\n\u003cp>Julz Hale Mary, a Bay Area multimedia and performance artist who traffics in satire, hyperbole, and drag — and uses the pronoun “they” — named the night \u003cem>Trauma is a Party (of One)\u003c/em>. The concept: an attempt to de-stigmatize and de-pathologize mental health conditions by expressing them artistically as something you wear, then strutting them down a runway — mainly for fun.\u003c/p>\n\u003cp>“Femme people and queers tend to be the ones that are most enmeshed in pathologies of various kinds,” says Mary. “They were heavily stigmatized throughout history, and still to this day, just for being gender variant or not agreeing with the patriarchy — so this is a very deep rich history.\u003c/p>\n\u003cp>“‘Crazy’ is the present-day pathology or stigma, and I wanted to do a show that queered that and celebrated it — since that’s what being queer is all about… and basically I just wanted to look fabulous while doing it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mary has worked at a mental health nonprofit for the past six years, and has been personally engaging in somatic therapy for just as long. Meanwhile, they’ve become a practicing performance artist, both in queer clubs like Aunt Charlie’s and more “fine art spaces” such as the Yerba Buena Center for the Arts. With an assortment of wigs and a saccharine giggle, Mary typically puts live caricatures in comical narratives to bust open heavy subject matter and break down binaries of understanding. In this instance, that’s the dichotomy of “sick” and “sane.”\u003c/p>\n\u003cfigure id=\"attachment_13069644\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13069644\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-800x1120.jpg\" alt=' A look from \"Trauma is a Party (of One).\"' width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-1180x1652.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145.jpg 1463w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A look from “Trauma is a Party (of One).” \u003ccite>(Courtesy ROBERT DIVERS HERRICK. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somatic therapy, too, breaks down the binary between mind and body, treating them as one interconnected system. As Mary describes it from their own experience, patients are encouraged to understand their mental states in terms of the physical symptoms that they feel (rather than simply a diagnosis). “You’re like: ‘[Anxiety] feels really light and airy in my chest, but weighted down at the same time,’” Mary explains. “So the word kind of loses meaning.”\u003c/p>\n\u003cp>Inspired by that technique, Mary imagined what various mental health conditions would look like as ensembles. “I’ve experienced these things in some form or another,” says Mary, “so it was really just like, well, let me just do a little session with myself — dive right into my body and see what’s going on.” Seamstress Bobbi Rohs then actualized the sketches.\u003c/p>\n\u003cp>For models, Mary chose artists that they admire: Wang, Craig Calderwood, Persia, and Titania Kumeh. On the night of the show, though, they’re barely recognizable. Calderwood stalks the stage in a slinky, pink dress surrounded by a see-through plastic box constructed by artist Rik Lee Leipold. Another model emerges in a draped coat made up of a wrapped duvet, then drops it halfway through to reveal a flamboyant spandex outfit and manic dance moves. In another look, the model is covered head to toe (without eyeholes, even) in a long, fitted dress made of fabric covered in cut-outs of what look to be Mary’s anxiously clenched teeth.\u003c/p>\n\u003cfigure id=\"attachment_13077986\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13077986\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/3V4B2689-800x533.jpg\" alt='Titania Kumeh in \"Trauma is a Party (of One).\" ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Titania Kumeh in ‘Trauma is a Party (of One).’ \u003ccite>(Courtesy Shot in the City Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than announcing which outfits are inspired by which pathologies, Mary left those connections intentionally vague in order to eliminate the boxes in which people are placed by mental health professionals. “All of a sudden, it doesn’t look like, maybe, a bipolar person,” says Mary, “it just looks like someone is going through something.”\u003c/p>\n\u003cp>The fashion show was also framed as having been put on by a fictional mental health nonprofit. To that end, Amber Fargano and Vishinna Turner played “Cisters to the Cistem,” a kind of trans-exclusionary girl gang within the workforce that attempted to make all the models “jump through their hoops” — literally, hula hoops. The institutional jab also included a condescending executive director named “Dean Ile” and a villainous head clinician.\u003c/p>\n\u003cp>“There is such a dark reality of this supposedly feel-good nonprofit industrial complex and how it masks power imbalances through messages of equality,” says Mary. “So, I just really wanted to bring this darkness to the screen: The state doesn’t care about you as a client or as a counselor.”\u003c/p>\n\u003cfigure id=\"attachment_13069647\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13069647 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-800x1120.jpg\" alt='A look from \"Trauma is a Party (of One).\"' width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-1180x1652.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250.jpg 1463w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Titania Kumeh in ‘Trauma is a Party (of One).’ \u003ccite>(Courtesy ROBERT DIVERS HERRICK)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The almost absurd dissonance between the subject matter that Mary chooses and their bubbly hilarious approach is a constant within their body of work — and a strategy, they say, to help people acknowledge and process content that might otherwise just shut them down emotionally or simply push them away.\u003c/p>\n\u003cp>“I don’t think fun is bad, it just is another way of coping,” says Mary. “Kids do it all the time, and I was one of those kids, and I think it actually brought me a lot of joy and strength to tap into that playful childlike quality of role play.\u003c/p>\n\u003cp>“I’m not for everyone, but I’m for the people that want a site to process their anger and want to do it in a way that keeps them buoyant and that helps them spiral up rather than spiral down.”\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "de-young-summer-of-love-50th-anniversary",
"title": "At the de Young, the 'Summer of Love Experience' Is a Broken Record",
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"content": "\u003cp>It was a stormy evening on Thursday, April 6, but inside the lobby of the \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>, a warm glow emanated from lava lamps propped on the makeshift bar. Large, flower-adorned peace signs topped a pair of appetizer tables (pita and hummus, couscous salads, goblets of shrimp) while an ambiguous psychedelic tribute band—decked out in bell-bottoms, colorful vests and questionable Afro wigs—swayed on platforms and played bongos in front of a neon-lit wall.\u003c/p>\n\u003cp>Yes, this was the press preview/donor reception for the museum’s new exhibit celebrating the 50th anniversary of the Summer of Love. \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Summer of Love Experience: Art, Fashion, and Rock & Roll\u003c/i>\u003c/a>, on view now through Aug. 20, is the kind of programming every San Francisco institution is apparently required to produce by law (a.k.a. a strong promotion from \u003ca href=\"http://www.sftravel.com/summer-love-2017\" target=\"_blank\" rel=\"noopener noreferrer\">the city’s tourism bureau\u003c/a>) during the summer of 2017. Haven’t you heard? There are concerts, talks, and photo shows. There’s a \u003ca href=\"https://magicbussf.com/tour/anniversary-summer-of-love/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Bus Experience\u003c/a>. There’s an ongoing \u003ca href=\"http://summerof.love/event/love-boutique-opening-reception-penthouse-five-inside-neiman-marcus-union-square/\" target=\"_blank\" rel=\"noopener noreferrer\">’60s fashion boutique at the Neiman Marcus penthouse in Union Square\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13042303\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg\" alt=\"Performers "protesting" at 'The Summer of Love Experience' donor reception at de Young Museum.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Performers “protesting” at ‘The Summer of Love Experience’ donor reception at de Young Museum. \u003ccite>(Devlin Shand for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, for an hour or so on Thursday night at the de Young—as the band turned into a team of cutesy, costumed “protesters” who picked up “Make Love Not War” signs and paraded groovily through the party with their bongos \u003ci>at the precise moment\u003c/i> every journalist in the room got a push notification announcing the U.S. had just launched missiles into Syria—there was a degree of tone-deafness that bordered on surreal. It was, in fact, the perfect encapsulation of the entire exhibition’s myopia.\u003c/p>\n\u003cp>Let’s get one thing out of the way: We are not convinced any of this summer’s grand re-telling is necessary. As California natives in our early 30s, we’ve grown up in the persistent shadow of the Summer of Love, a specter of San Francisco in the sixties as sacred text—the prophets Jerry Garcia, Ken Kesey and Bill Graham untouchable in their retroactive glory. These people, and this era, are not lacking memorialization: the stories of the Haight-Ashbury, the Human Be-In, the drugs, the free love—they have been told many times, by many people, in books and movies and American history courses.\u003c/p>\n\u003cfigure id=\"attachment_13042313\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042313\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg\" alt=\"Installation view of Haight Street Gallery in 'The Summer of Love Experience.'\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-520x390.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Haight Street Gallery in ‘The Summer of Love Experience.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The way yet another rehashing might justify itself, then, is by adding something new to this fairly recent history. (See BAMPFA’s excellent \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/28/at-bampfa-hippie-modernism-proves-the-fight-for-utopia-is-far-from-over/\" target=\"_blank\" rel=\"noopener noreferrer\">Hippie Modernism: The Struggle for Utopia\u003c/a>\u003c/i>, for example.) Give us an exhibit that offers a clear-eyed critique of what truthfully was a brief social experiment, notes its shortcomings along with its joys. Give us context. At the very least, give us some intellectual honesty: an exploration of what really happened, who it affected, why it ended, and how it shaped the San Francisco (and United States) we currently inhabit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps some of this summer’s yet-unopened exhibits will offer this. \u003ci>The Summer of Love Experience\u003c/i> at the de Young does not.\u003c/p>\n\u003cfigure id=\"attachment_13042304\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg\" alt=\"A museum-goer inside Bill Ham's 'Kinetic Light Painting, 2016-2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A museum-goer inside Bill Ham’s ‘Kinetic Light Painting, 2016-2017. \u003ccite>(Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What it does provide is a bright, colorful celebration of the aesthetics of the time period, and if you are fascinated by those, as many will be, by all means go see it. Over the long, weaving course of 10 galleries—including one selfie-ready space designed by liquid light show veteran Bill Ham—we get psychedelic rock show posters on top of posters, a giant bedspread once intended for Grateful Dead guitarist Bob Weir, record sleeves, book covers, and pins (so many pins). Somehow overwhelming without diving beneath the surface of the era’s aesthetics, the show seems intent on proving it’s possible to have, at the same time, too much and not enough.\u003c/p>\n\u003cp>We’ll allow there are interesting artifacts to behold: The collection of nearly 150 posters and handbills from Bay Area music venues anchors the exhibition, and many of them are indeed beautiful. The area devoted to demonstrating the lithographic process by which they were made is also worthwhile; Stanley Mouse, Wes Wilson and their compatriots from this era of poster art deserve all the recognition they’ve received over the past 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13042306\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042306\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg\" alt=\"Left: Bob Schnepf, 'Summer of Love/City of San Francisco,' 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967.\" width=\"1200\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-520x348.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Bob Schnepf, ‘Summer of Love/City of San Francisco,’ 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after reading a short explanation of \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/hyde-street-rock-how-wally-heider-and-the-tenderloin-shaped-the-san-francisco-sound/\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Sound\u003c/a>, one is also left with the feeling that we’re being asked (yet again) to revere this era for the sake of reverence, in the name of pure rose-colored folklore, and in the dullest kind of vacuum. Sure, the Grateful Dead and Jefferson Airplane have come to represent not just a musical moment but a tribe, a lifestyle. Can we discuss what came after? What bands they influenced, or even what they stood for? Where can their nonconformist message still be felt in present-day San Francisco, where capitalism run amok has made it difficult if not impossible for artists to survive? Put bluntly: \u003cem>Why are we still talking about this\u003c/em>? If it’s for reasons other than to tickle donors and tourists who came of age during this period and will smile fondly at the memories, please show us those.\u003c/p>\n\u003cp>In the meantime: Right this way, please. We have Jerry Garcia’s hat.\u003c/p>\n\u003cp>\u003ci>The Summer of Love Experience\u003c/i> does devote a considerable amount of floorspace to the era’s clothing designers and trends, a welcome bit of tangibility in an otherwise ephemera-filled exhibition. Mannequins sport customized jeans, maxi peasant dresses and Native American-inspired leather fringe; Birgitta Bjerke’s crocheted work is a standout. Behind this vitrine—drumroll please—we even have the companion piece to Garcia’s Uncle Sam headgear: Janis Joplin’s handbag, intricately embroidered by Linda Gravenites.\u003c/p>\n\u003cfigure id=\"attachment_13042314\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg\" alt=\"Linda Gravenites, Handbag, ca. 1967.\" width=\"1200\" height=\"1883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-160x251.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-800x1255.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-768x1205.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1020x1601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1180x1852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-960x1506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-240x377.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-375x588.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-520x816.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Linda Gravenites, Handbag, ca. 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in these textiles, another missed opportunity: The exhibition catalog mentions the San Francisco Redevelopment Agency’s 1960s campaign to destroy the historically black Fillmore neighborhood—but only in the context of the boon this displacement provided to the city’s thrift stores, and hence, to the hippies fashioning creative costumes from flea market finds. Really. In the exhibition itself, this shameful “urban renewal” in the Fillmore bears no mention. (Also in the catalog but not in the show: the draft-dodging origins of tie-dye at the Haight’s Free Store, explored in Detour’s immersive \u003ca href=\"https://ww2.kqed.org/arts/2016/01/13/haight-ashbury-peter-coyote-tour/\" target=\"_blank\" rel=\"noopener noreferrer\">Haight-Ashbury Walking Tour\u003c/a>.)\u003c/p>\n\u003cp>The final gallery, before the exhibition empties into \u003ci>The Summer of Love Experience\u003c/i> gift shop, tries to sum up the politics of the era in a grab-bag of issues: the Black Panthers, the Pill, Vietnam War protests, draft resistance, sex positivity. If it’s intended to be a summation, a nod to the era’s enduring legacy and a connecting thread to the present, the result is tepid at best—especially with the wall text’s vague rah-rah claim that “fifty years later, government policies resulting from such interventions render a way of life in the West that would have been unimaginable to all but the surest of sixties visionaries.” This final gallery would have benefited from a few more pieces and a lot more breathing room, especially considering the overwhelming whiteness and maleness of the characters we’ve been taught to celebrate from this time period in San Francisco’s history—none of whom receive substantial critique in the preceding rooms.\u003c/p>\n\u003cfigure id=\"attachment_13042305\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg\" alt=\"Birgitta Bjerke (100% Birgitta), 'Pioneer,' ca. 1972-1973.\" width=\"1200\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-520x416.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Birgitta Bjerke (100% Birgitta), ‘Pioneer,’ ca. 1972-1973. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Panthers, in particular—who had, by the summer of 1967, opened a storefront in Oakland, published their Ten-Point Program, and garnered national attention for entering the California State Assembly carrying guns to protest the Mulford Act—are represented only by a handful of Ruth Marion Baruch and Pirkle Jones photographs, unless we missed something. The movement was far better represented in the \u003ca href=\"http://museumca.org/gallery/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California’s sprawling and comprehensive 2016 exhibit\u003c/a>.\u003c/p>\n\u003cp>Back upstairs on Thursday night, the party—“anti-war protesters” and all—was just getting going. While attendees drank lime green Midori-and-tequila cocktails labeled “battery acid” to the sounds of “White Rabbit,” we asked one of the sign-carrying protesters if he was, in fact, pulling double duty as part of the band. The be-wigged gentleman, carrying light-up bowling pins, answered, “We’re all in the band called life, man.”\u003c/p>\n\u003cp>Near the exit, a de Young employee handed us each a bright Gerbera daisy. Then we made our way through the rain and wind to the faux street signs marking the entrance to the building—each one noting an “intersection” of the past and present: hippie and hipster, free love and marriage equality. A strong gust whipped the flowers from our hands right about then, which was fine. There were new notifications on our phones to check. Likely, there was something fresh worth protesting.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘The Summer of Love Experience: Art, Fashion, and Rock & Roll’ is on view at San Francisco’s de Young Museum through Aug. 20. For tickets and more information, \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In honor of the Summer of Love's 50th anniversary, the museum rehashes surface-level aesthetics, fashion and ephemera from 1967 — with barely any connection to today.",
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"title": "At the de Young, the 'Summer of Love Experience' Is a Broken Record | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a stormy evening on Thursday, April 6, but inside the lobby of the \u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>, a warm glow emanated from lava lamps propped on the makeshift bar. Large, flower-adorned peace signs topped a pair of appetizer tables (pita and hummus, couscous salads, goblets of shrimp) while an ambiguous psychedelic tribute band—decked out in bell-bottoms, colorful vests and questionable Afro wigs—swayed on platforms and played bongos in front of a neon-lit wall.\u003c/p>\n\u003cp>Yes, this was the press preview/donor reception for the museum’s new exhibit celebrating the 50th anniversary of the Summer of Love. \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Summer of Love Experience: Art, Fashion, and Rock & Roll\u003c/i>\u003c/a>, on view now through Aug. 20, is the kind of programming every San Francisco institution is apparently required to produce by law (a.k.a. a strong promotion from \u003ca href=\"http://www.sftravel.com/summer-love-2017\" target=\"_blank\" rel=\"noopener noreferrer\">the city’s tourism bureau\u003c/a>) during the summer of 2017. Haven’t you heard? There are concerts, talks, and photo shows. There’s a \u003ca href=\"https://magicbussf.com/tour/anniversary-summer-of-love/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Bus Experience\u003c/a>. There’s an ongoing \u003ca href=\"http://summerof.love/event/love-boutique-opening-reception-penthouse-five-inside-neiman-marcus-union-square/\" target=\"_blank\" rel=\"noopener noreferrer\">’60s fashion boutique at the Neiman Marcus penthouse in Union Square\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13042303\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042303\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg\" alt=\"Performers "protesting" at 'The Summer of Love Experience' donor reception at de Young Museum.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/0864-Deyoung-170406_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Performers “protesting” at ‘The Summer of Love Experience’ donor reception at de Young Museum. \u003ccite>(Devlin Shand for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, for an hour or so on Thursday night at the de Young—as the band turned into a team of cutesy, costumed “protesters” who picked up “Make Love Not War” signs and paraded groovily through the party with their bongos \u003ci>at the precise moment\u003c/i> every journalist in the room got a push notification announcing the U.S. had just launched missiles into Syria—there was a degree of tone-deafness that bordered on surreal. It was, in fact, the perfect encapsulation of the entire exhibition’s myopia.\u003c/p>\n\u003cp>Let’s get one thing out of the way: We are not convinced any of this summer’s grand re-telling is necessary. As California natives in our early 30s, we’ve grown up in the persistent shadow of the Summer of Love, a specter of San Francisco in the sixties as sacred text—the prophets Jerry Garcia, Ken Kesey and Bill Graham untouchable in their retroactive glory. These people, and this era, are not lacking memorialization: the stories of the Haight-Ashbury, the Human Be-In, the drugs, the free love—they have been told many times, by many people, in books and movies and American history courses.\u003c/p>\n\u003cfigure id=\"attachment_13042313\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042313\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg\" alt=\"Installation view of Haight Street Gallery in 'The Summer of Love Experience.'\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/2017_DEY_SOL_Exhibition_Install_V59_1200-520x390.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Haight Street Gallery in ‘The Summer of Love Experience.’ \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The way yet another rehashing might justify itself, then, is by adding something new to this fairly recent history. (See BAMPFA’s excellent \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/28/at-bampfa-hippie-modernism-proves-the-fight-for-utopia-is-far-from-over/\" target=\"_blank\" rel=\"noopener noreferrer\">Hippie Modernism: The Struggle for Utopia\u003c/a>\u003c/i>, for example.) Give us an exhibit that offers a clear-eyed critique of what truthfully was a brief social experiment, notes its shortcomings along with its joys. Give us context. At the very least, give us some intellectual honesty: an exploration of what really happened, who it affected, why it ended, and how it shaped the San Francisco (and United States) we currently inhabit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps some of this summer’s yet-unopened exhibits will offer this. \u003ci>The Summer of Love Experience\u003c/i> at the de Young does not.\u003c/p>\n\u003cfigure id=\"attachment_13042304\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042304\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg\" alt=\"A museum-goer inside Bill Ham's 'Kinetic Light Painting, 2016-2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/1202-DeYoung-170406_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A museum-goer inside Bill Ham’s ‘Kinetic Light Painting, 2016-2017. \u003ccite>(Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What it does provide is a bright, colorful celebration of the aesthetics of the time period, and if you are fascinated by those, as many will be, by all means go see it. Over the long, weaving course of 10 galleries—including one selfie-ready space designed by liquid light show veteran Bill Ham—we get psychedelic rock show posters on top of posters, a giant bedspread once intended for Grateful Dead guitarist Bob Weir, record sleeves, book covers, and pins (so many pins). Somehow overwhelming without diving beneath the surface of the era’s aesthetics, the show seems intent on proving it’s possible to have, at the same time, too much and not enough.\u003c/p>\n\u003cp>We’ll allow there are interesting artifacts to behold: The collection of nearly 150 posters and handbills from Bay Area music venues anchors the exhibition, and many of them are indeed beautiful. The area devoted to demonstrating the lithographic process by which they were made is also worthwhile; Stanley Mouse, Wes Wilson and their compatriots from this era of poster art deserve all the recognition they’ve received over the past 50 years.\u003c/p>\n\u003cfigure id=\"attachment_13042306\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042306\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg\" alt=\"Left: Bob Schnepf, 'Summer of Love/City of San Francisco,' 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967.\" width=\"1200\" height=\"802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Schnepf_Summer-of-Love_1200-520x348.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Bob Schnepf, ‘Summer of Love/City of San Francisco,’ 1967. Right: Victor Moscoso, Pablo Ferro film advertisement, 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after reading a short explanation of \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/hyde-street-rock-how-wally-heider-and-the-tenderloin-shaped-the-san-francisco-sound/\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Sound\u003c/a>, one is also left with the feeling that we’re being asked (yet again) to revere this era for the sake of reverence, in the name of pure rose-colored folklore, and in the dullest kind of vacuum. Sure, the Grateful Dead and Jefferson Airplane have come to represent not just a musical moment but a tribe, a lifestyle. Can we discuss what came after? What bands they influenced, or even what they stood for? Where can their nonconformist message still be felt in present-day San Francisco, where capitalism run amok has made it difficult if not impossible for artists to survive? Put bluntly: \u003cem>Why are we still talking about this\u003c/em>? If it’s for reasons other than to tickle donors and tourists who came of age during this period and will smile fondly at the memories, please show us those.\u003c/p>\n\u003cp>In the meantime: Right this way, please. We have Jerry Garcia’s hat.\u003c/p>\n\u003cp>\u003ci>The Summer of Love Experience\u003c/i> does devote a considerable amount of floorspace to the era’s clothing designers and trends, a welcome bit of tangibility in an otherwise ephemera-filled exhibition. Mannequins sport customized jeans, maxi peasant dresses and Native American-inspired leather fringe; Birgitta Bjerke’s crocheted work is a standout. Behind this vitrine—drumroll please—we even have the companion piece to Garcia’s Uncle Sam headgear: Janis Joplin’s handbag, intricately embroidered by Linda Gravenites.\u003c/p>\n\u003cfigure id=\"attachment_13042314\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg\" alt=\"Linda Gravenites, Handbag, ca. 1967.\" width=\"1200\" height=\"1883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-160x251.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-800x1255.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-768x1205.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1020x1601.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-1180x1852.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-960x1506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-240x377.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-375x588.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_6_2_V5_8_1200-520x816.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Linda Gravenites, Handbag, ca. 1967. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in these textiles, another missed opportunity: The exhibition catalog mentions the San Francisco Redevelopment Agency’s 1960s campaign to destroy the historically black Fillmore neighborhood—but only in the context of the boon this displacement provided to the city’s thrift stores, and hence, to the hippies fashioning creative costumes from flea market finds. Really. In the exhibition itself, this shameful “urban renewal” in the Fillmore bears no mention. (Also in the catalog but not in the show: the draft-dodging origins of tie-dye at the Haight’s Free Store, explored in Detour’s immersive \u003ca href=\"https://ww2.kqed.org/arts/2016/01/13/haight-ashbury-peter-coyote-tour/\" target=\"_blank\" rel=\"noopener noreferrer\">Haight-Ashbury Walking Tour\u003c/a>.)\u003c/p>\n\u003cp>The final gallery, before the exhibition empties into \u003ci>The Summer of Love Experience\u003c/i> gift shop, tries to sum up the politics of the era in a grab-bag of issues: the Black Panthers, the Pill, Vietnam War protests, draft resistance, sex positivity. If it’s intended to be a summation, a nod to the era’s enduring legacy and a connecting thread to the present, the result is tepid at best—especially with the wall text’s vague rah-rah claim that “fifty years later, government policies resulting from such interventions render a way of life in the West that would have been unimaginable to all but the surest of sixties visionaries.” This final gallery would have benefited from a few more pieces and a lot more breathing room, especially considering the overwhelming whiteness and maleness of the characters we’ve been taught to celebrate from this time period in San Francisco’s history—none of whom receive substantial critique in the preceding rooms.\u003c/p>\n\u003cfigure id=\"attachment_13042305\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13042305\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg\" alt=\"Birgitta Bjerke (100% Birgitta), 'Pioneer,' ca. 1972-1973.\" width=\"1200\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/L16_56_15_1_V1_8_1200-520x416.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Birgitta Bjerke (100% Birgitta), ‘Pioneer,’ ca. 1972-1973. \u003ccite>(Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Panthers, in particular—who had, by the summer of 1967, opened a storefront in Oakland, published their Ten-Point Program, and garnered national attention for entering the California State Assembly carrying guns to protest the Mulford Act—are represented only by a handful of Ruth Marion Baruch and Pirkle Jones photographs, unless we missed something. The movement was far better represented in the \u003ca href=\"http://museumca.org/gallery/all-power-people-black-panthers-50\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California’s sprawling and comprehensive 2016 exhibit\u003c/a>.\u003c/p>\n\u003cp>Back upstairs on Thursday night, the party—“anti-war protesters” and all—was just getting going. While attendees drank lime green Midori-and-tequila cocktails labeled “battery acid” to the sounds of “White Rabbit,” we asked one of the sign-carrying protesters if he was, in fact, pulling double duty as part of the band. The be-wigged gentleman, carrying light-up bowling pins, answered, “We’re all in the band called life, man.”\u003c/p>\n\u003cp>Near the exit, a de Young employee handed us each a bright Gerbera daisy. Then we made our way through the rain and wind to the faux street signs marking the entrance to the building—each one noting an “intersection” of the past and present: hippie and hipster, free love and marriage equality. A strong gust whipped the flowers from our hands right about then, which was fine. There were new notifications on our phones to check. Likely, there was something fresh worth protesting.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (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>\u003ci>‘The Summer of Love Experience: Art, Fashion, and Rock & Roll’ is on view at San Francisco’s de Young Museum through Aug. 20. For tickets and more information, \u003ca href=\"https://deyoung.famsf.org/summer-love-art-fashion-and-rock-roll\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Designers are rolling out their spring lines and the runways are looking more diverse than ever. But the comparative abundance of models who are people of color didn't happen overnight.\u003c/p>\n\u003cp>There was the occasional — very occasional — model who wasn't white in the 50s and early 60s on runways. But African-American models put American couture on the map in 1973 when they walked the runway in France in what's become known as \u003ca href=\"http://www.npr.org/2015/03/19/393823017/how-a-1970s-fashion-faceoff-put-american-designers-in-the-spotlight\">The Battle of Versailles\u003c/a>.\u003c/p>\n\u003cp>Almost instantly, black models were The Thing for a brief, halcyon period. But by the mid-80s, with a few glorious exceptions, the catwalks had regained a distinctly milky aspect.\u003c/p>\n\u003cp>Many designers' casting directors — the people choose models for shows — would specify they wanted a \"certain look.\" And for a long time that look was very, very pale.\u003c/p>\n\u003cp>Things got so monochromatic that in 2013 Bethann Hardison, a former model and modeling agency owner, and supermodels Iman and Naomi Campbell formed an organization called Diversity Coalition, to insist on runways that included women of color. The Coalition even penned a manifesto addressed to the international fashion industry, saying the runways needed to be a lot more varied in hue, especially at the darker end of the spectrum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"The decision to use basically all-white models reveals a trait that is unbecoming to modern society,\" the authors wrote.\u003c/p>\n\u003cp>Then they named names.\u003c/p>\n\u003cp>That, said James Scully, is what gets people's attention. Scully, a model, casting director and activist, recently wrote \u003ca href=\"http://www.thefashionspot.com/runway-news/737855-james-scully-calls-out-balenciaga-and-lanvin-casting/\">an Instagram post\u003c/a> that claimed that the House of Lanvin had requested no women of color be included in the go-sees for casting its latest show.\u003c/p>\n\u003cp>Lanvin insisted that was incorrect—but in the end, 6 women of color were in its lineup.\u003c/p>\n\u003cp>Earlier this month, The Fashion Spot, an online forum for fashion insiders, released its \u003ca href=\"http://www.thefashionspot.com/runway-news/740117-runway-diversity-report-fall-2017/\">Runway Diversity Report\u003c/a> for Fall 2017. The report surveyed 241 shows during the fall 2017 season. Almost 28 percent of the models in those shows, collectively, were people of color. The report looked at national and international runways and found the highest racial diversity across the four major participating cities (New York, London, Milan, and Paris) was in New York, where 31.5 percent of the models were people of color.\u003c/p>\n\u003cp>Jennifer Davidson, editor in chief of The Fashion Spot, told \u003cem>The\u003c/em> \u003cem>New York Times\u003c/em> \"I personally don't think 31.5 is enough, but it's definitely an improvement.\"\u003c/p>\n\u003cp>It's a tricky thing, casting. Directors have a vision for their lines — but what if that vision doesn't include a more inclusive palette? \"It's an aesthetic decision, it's not personal\" used to be a standard response from some designers. Marc Jacobs is one of the designers the Diversity Coalition called out in 2013 for being diversity-impoverished. He again found himself in the fashion world's crosshairs last year when he sent mostly white models down the runway in rainbow-colored yarn dreadlocks.\u003c/p>\n\u003cp>Jacobs was mystified at some of the outrage from people who charged him with cultural appropriation. Openly questioning why \u003ca href=\"https://www.theguardian.com/fashion/2016/sep/20/marc-jacobs-apologises-using-white-models-dreadlocks-cultural-\">white models wearing dreadlocks\u003c/a> was offensive, he suggested that his critics wouldn't \"criticize women of color for straightening their hair.\" Eventually Jacobs \u003ca href=\"http://www.usmagazine.com/stylish/news/marc-jacobs-apologizes-for-dreadlocks-comments-w440863\">apologized on Instagram\u003c/a> \"for the lack of sensitivity unintentionally expressed by my brevity.\"\u003c/p>\n\u003cp>And, tellingly, he was among the designers with one of the most diverse runway lineups for fall 2017 — 66 percent models of color (see photo above).\u003c/p>\n\u003cp>The Fashion Spot has begun to tabulate not just racial diversity, but other kinds as well: designers that use older models, models who are transgender and plus-sized models. Of those groups, there has been more representation of plus-sized women than any other difference, but the door has been opened for other kinds of diversity. (Dolce & Gabbana dressed Italian nonnas (gramdmas) in its current campaign, and have for a few seasons. At J Crew, entire families replaced models to show off the retailer's wares.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>These steps are not only good, but smart: the world, and fashion's consumer base, is getting more varied by the day. Having the runway mirror the real world a little more closely will lead to the industry's favorite sound: ka-ching, ka-ching.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+Fashion+Runways%2C+Inclusion+Is+About+More+Than+Color&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Designers are rolling out their spring lines and the runways are looking more diverse than ever. But the comparative abundance of models who are people of color didn't happen overnight.\u003c/p>\n\u003cp>There was the occasional — very occasional — model who wasn't white in the 50s and early 60s on runways. But African-American models put American couture on the map in 1973 when they walked the runway in France in what's become known as \u003ca href=\"http://www.npr.org/2015/03/19/393823017/how-a-1970s-fashion-faceoff-put-american-designers-in-the-spotlight\">The Battle of Versailles\u003c/a>.\u003c/p>\n\u003cp>Almost instantly, black models were The Thing for a brief, halcyon period. But by the mid-80s, with a few glorious exceptions, the catwalks had regained a distinctly milky aspect.\u003c/p>\n\u003cp>Many designers' casting directors — the people choose models for shows — would specify they wanted a \"certain look.\" And for a long time that look was very, very pale.\u003c/p>\n\u003cp>Things got so monochromatic that in 2013 Bethann Hardison, a former model and modeling agency owner, and supermodels Iman and Naomi Campbell formed an organization called Diversity Coalition, to insist on runways that included women of color. The Coalition even penned a manifesto addressed to the international fashion industry, saying the runways needed to be a lot more varied in hue, especially at the darker end of the spectrum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"The decision to use basically all-white models reveals a trait that is unbecoming to modern society,\" the authors wrote.\u003c/p>\n\u003cp>Then they named names.\u003c/p>\n\u003cp>That, said James Scully, is what gets people's attention. Scully, a model, casting director and activist, recently wrote \u003ca href=\"http://www.thefashionspot.com/runway-news/737855-james-scully-calls-out-balenciaga-and-lanvin-casting/\">an Instagram post\u003c/a> that claimed that the House of Lanvin had requested no women of color be included in the go-sees for casting its latest show.\u003c/p>\n\u003cp>Lanvin insisted that was incorrect—but in the end, 6 women of color were in its lineup.\u003c/p>\n\u003cp>Earlier this month, The Fashion Spot, an online forum for fashion insiders, released its \u003ca href=\"http://www.thefashionspot.com/runway-news/740117-runway-diversity-report-fall-2017/\">Runway Diversity Report\u003c/a> for Fall 2017. The report surveyed 241 shows during the fall 2017 season. Almost 28 percent of the models in those shows, collectively, were people of color. The report looked at national and international runways and found the highest racial diversity across the four major participating cities (New York, London, Milan, and Paris) was in New York, where 31.5 percent of the models were people of color.\u003c/p>\n\u003cp>Jennifer Davidson, editor in chief of The Fashion Spot, told \u003cem>The\u003c/em> \u003cem>New York Times\u003c/em> \"I personally don't think 31.5 is enough, but it's definitely an improvement.\"\u003c/p>\n\u003cp>It's a tricky thing, casting. Directors have a vision for their lines — but what if that vision doesn't include a more inclusive palette? \"It's an aesthetic decision, it's not personal\" used to be a standard response from some designers. Marc Jacobs is one of the designers the Diversity Coalition called out in 2013 for being diversity-impoverished. He again found himself in the fashion world's crosshairs last year when he sent mostly white models down the runway in rainbow-colored yarn dreadlocks.\u003c/p>\n\u003cp>Jacobs was mystified at some of the outrage from people who charged him with cultural appropriation. Openly questioning why \u003ca href=\"https://www.theguardian.com/fashion/2016/sep/20/marc-jacobs-apologises-using-white-models-dreadlocks-cultural-\">white models wearing dreadlocks\u003c/a> was offensive, he suggested that his critics wouldn't \"criticize women of color for straightening their hair.\" Eventually Jacobs \u003ca href=\"http://www.usmagazine.com/stylish/news/marc-jacobs-apologizes-for-dreadlocks-comments-w440863\">apologized on Instagram\u003c/a> \"for the lack of sensitivity unintentionally expressed by my brevity.\"\u003c/p>\n\u003cp>And, tellingly, he was among the designers with one of the most diverse runway lineups for fall 2017 — 66 percent models of color (see photo above).\u003c/p>\n\u003cp>The Fashion Spot has begun to tabulate not just racial diversity, but other kinds as well: designers that use older models, models who are transgender and plus-sized models. Of those groups, there has been more representation of plus-sized women than any other difference, but the door has been opened for other kinds of diversity. (Dolce & Gabbana dressed Italian nonnas (gramdmas) in its current campaign, and have for a few seasons. At J Crew, entire families replaced models to show off the retailer's wares.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>These steps are not only good, but smart: the world, and fashion's consumer base, is getting more varied by the day. Having the runway mirror the real world a little more closely will lead to the industry's favorite sound: ka-ching, ka-ching.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+Fashion+Runways%2C+Inclusion+Is+About+More+Than+Color&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While many people around the country choose to protest the Trump administration’s policies by waving colorful banners, T.K. Butler is choosing to broadcast her feelings from her earlobes.\u003c/p>\n\u003cp>The Oakland-based jewelry designer and activist, who also goes by Tru FireElectric, has created a line of eye-catching earrings that effectively act as small-scale billboards. Each one-of-a-kind pair makes a statement about three of the President’s key focus areas: immigration, community security and “America First.”\u003c/p>\n\u003cfigure id=\"attachment_12758406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12758406\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-800x450.jpg\" alt=\"Oakland-based jewelry designer T.K. Butler.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450.jpg 1822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based jewelry designer T.K. Butler. \u003ccite>(Photo: Courtesy T.K. Butler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My earrings are for the purpose of demonstrating, opening dialogue and building bridges in the political realm,” Butler says.\u003c/p>\n\u003cp>Her work has been seen at the Oakland Museum of California and is available for purchase \u003ca href=\"http://www.focusonthecreative.com/\" target=\"_blank\" rel=\"noopener\">online\u003c/a> and at various stores, including Concept Forty-Seven in Oakland.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED recently chatted with the artist about her unusual form of activism.\u003c/p>\n\u003cp>\u003cstrong>Why make earrings as a form of protest against the Trump administration?\u003c/strong>\u003c/p>\n\u003cp>As an artist, it’s my duty to comment on the social climate and times. Art is not created to solicit understanding, but rather to provoke emotion. Knowing I have the power to impact people’s feelings means I have a chance to counterbalance the emotions triggered by the Trump presidency into a validated, humane and empowering narrative of redress.\u003c/p>\n\u003cfigure id=\"attachment_12758409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12758409\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-800x1067.jpg\" alt=\"America First-inspired earrings by T.K. Butler.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">America First-inspired earrings by T.K. Butler. \u003ccite>(Photo: T.K. Butler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What materials do you use?\u003c/strong>\u003c/p>\n\u003cp>The materials speak to me. I really enjoy working with wire and paint. I love using recyclable items to recapture times lost into new visions that communicate how never giving up and surviving through life’s struggles are possible. Adding texture to my earrings helps tell stories of possibility. Anything can be a canvas and a canvas can become anything.\u003c/p>\n\u003cp>\u003cstrong>Tell us about your process.\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I don’t have one. I create each earring differently. This means I don’t know what or how I will conceive, design, create or work or what materials are at my disposal until it happens. I don’t sketch, force, or push concepts. I produce earrings based on what I have and what’s available to make them. As mentioned above, I love to use wire and paint. But if a customer asks me to make something I’ve never done before, I give it a shot and figure out how on earth to do it.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12758412\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12758412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Response-to-Immigration.jpg\" alt=\"Immigration-themed earrings by T.K. Butler\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Immigration.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Immigration-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Immigration-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Immigration-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Immigration-520x693.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Immigration-themed earrings by T.K. Butler. \u003ccite>(Photo: T.K. Butler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you hope you can achieve, activism-wise, with these earrings?\u003c/strong>\u003c/p>\n\u003cp>While wearing my earrings, I hope people will feel seen and heard. I want them to become aware of how my earrings share a special place on their bodies as they themselves inhabit a special place in the world. My earrings will make them feel like they are in good company, so they won’t feel alone. I want my customers to be imparted with a totem that represents a core value they are fighting to preserve or need to activate. I want them to feel their political and spiritual awakening through my art.\u003c/p>\n\u003cp>\u003cstrong>Your earrings cater mainly to a female audience. How do these earrings help to empower women in Trump’s era?\u003c/strong>\u003c/p>\n\u003cp>My earrings are specifically speaking to objectification because they are not mere lifeless objects. I breathe life into my earrings and they become a living art form. Women testify to these earrings giving them life. I want them to remember their true identity when embodying the free spirit of my art.\u003c/p>\n\u003cfigure id=\"attachment_12758415\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12758415\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Response-to-Community-Security1.jpg\" alt=\"T.K. Butler earrings aimed at addressing community security.\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Community-Security1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Community-Security1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Community-Security1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Community-Security1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Community-Security1-520x693.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">T.K. Butler earrings aimed at addressing community security. \u003ccite>(Photo: T.K. Butler)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=\"Q.Logo.Break\" 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>\n\u003cp>\u003cem>More from T.K. Butler can be found at \u003ca href=\"http://www.focusonthecreative.com/\" target=\"_blank\" rel=\"noopener\">her site\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In her eye-catching earring designs, Oakland-based jewelry artist T.K. Butler addresses immigration, community security and “America First.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While many people around the country choose to protest the Trump administration’s policies by waving colorful banners, T.K. Butler is choosing to broadcast her feelings from her earlobes.\u003c/p>\n\u003cp>The Oakland-based jewelry designer and activist, who also goes by Tru FireElectric, has created a line of eye-catching earrings that effectively act as small-scale billboards. Each one-of-a-kind pair makes a statement about three of the President’s key focus areas: immigration, community security and “America First.”\u003c/p>\n\u003cfigure id=\"attachment_12758406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12758406\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-800x450.jpg\" alt=\"Oakland-based jewelry designer T.K. Butler.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/TK-Butler-e1486927618450.jpg 1822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland-based jewelry designer T.K. Butler. \u003ccite>(Photo: Courtesy T.K. Butler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My earrings are for the purpose of demonstrating, opening dialogue and building bridges in the political realm,” Butler says.\u003c/p>\n\u003cp>Her work has been seen at the Oakland Museum of California and is available for purchase \u003ca href=\"http://www.focusonthecreative.com/\" target=\"_blank\" rel=\"noopener\">online\u003c/a> and at various stores, including Concept Forty-Seven in Oakland.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED recently chatted with the artist about her unusual form of activism.\u003c/p>\n\u003cp>\u003cstrong>Why make earrings as a form of protest against the Trump administration?\u003c/strong>\u003c/p>\n\u003cp>As an artist, it’s my duty to comment on the social climate and times. Art is not created to solicit understanding, but rather to provoke emotion. Knowing I have the power to impact people’s feelings means I have a chance to counterbalance the emotions triggered by the Trump presidency into a validated, humane and empowering narrative of redress.\u003c/p>\n\u003cfigure id=\"attachment_12758409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12758409\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-800x1067.jpg\" alt=\"America First-inspired earrings by T.K. Butler.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-America-First1.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">America First-inspired earrings by T.K. Butler. \u003ccite>(Photo: T.K. Butler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What materials do you use?\u003c/strong>\u003c/p>\n\u003cp>The materials speak to me. I really enjoy working with wire and paint. I love using recyclable items to recapture times lost into new visions that communicate how never giving up and surviving through life’s struggles are possible. Adding texture to my earrings helps tell stories of possibility. Anything can be a canvas and a canvas can become anything.\u003c/p>\n\u003cp>\u003cstrong>Tell us about your process.\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I don’t have one. I create each earring differently. This means I don’t know what or how I will conceive, design, create or work or what materials are at my disposal until it happens. I don’t sketch, force, or push concepts. I produce earrings based on what I have and what’s available to make them. As mentioned above, I love to use wire and paint. But if a customer asks me to make something I’ve never done before, I give it a shot and figure out how on earth to do it.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12758412\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12758412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Response-to-Immigration.jpg\" alt=\"Immigration-themed earrings by T.K. Butler\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Immigration.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Immigration-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Immigration-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Immigration-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Immigration-520x693.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Immigration-themed earrings by T.K. Butler. \u003ccite>(Photo: T.K. Butler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you hope you can achieve, activism-wise, with these earrings?\u003c/strong>\u003c/p>\n\u003cp>While wearing my earrings, I hope people will feel seen and heard. I want them to become aware of how my earrings share a special place on their bodies as they themselves inhabit a special place in the world. My earrings will make them feel like they are in good company, so they won’t feel alone. I want my customers to be imparted with a totem that represents a core value they are fighting to preserve or need to activate. I want them to feel their political and spiritual awakening through my art.\u003c/p>\n\u003cp>\u003cstrong>Your earrings cater mainly to a female audience. How do these earrings help to empower women in Trump’s era?\u003c/strong>\u003c/p>\n\u003cp>My earrings are specifically speaking to objectification because they are not mere lifeless objects. I breathe life into my earrings and they become a living art form. Women testify to these earrings giving them life. I want them to remember their true identity when embodying the free spirit of my art.\u003c/p>\n\u003cfigure id=\"attachment_12758415\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12758415\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Response-to-Community-Security1.jpg\" alt=\"T.K. Butler earrings aimed at addressing community security.\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Community-Security1.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Community-Security1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Community-Security1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Community-Security1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Response-to-Community-Security1-520x693.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">T.K. Butler earrings aimed at addressing community security. \u003ccite>(Photo: T.K. Butler)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=\"Q.Logo.Break\" 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>\n\u003cp>\u003cem>More from T.K. Butler can be found at \u003ca href=\"http://www.focusonthecreative.com/\" target=\"_blank\" rel=\"noopener\">her site\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "boolander-bamboo-bike-to-bring-eco-sense-and-eccentricity-to-climate-ride",
"title": "'Boolander' Bamboo Bike to Bring Eco Sense and Eccentricity to Climate Ride",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>When cyclists from around the country participate in the four-day \u003ca href=\"http://www.climateride.org/events/death-valley-ride\" target=\"_blank\" rel=\"noopener\">Climate Ride\u003c/a> in Death Valley next week to raise awareness of and support for environmental organizations, Paul Freedman is certain to turn heads riding atop his “Boolander.”\u003c/p>\n\u003cp>That’s the name the 39-year-old, San Francisco-based artist, bicycle maker and activist has given to the fantastical-looking, bamboo-framed tandem he custom-built to make a point about the environmental benefits of using sustainable materials and pedal power.\u003c/p>\n\u003cp>“To sit up high, riding on a goofy tall bike, I’m a reminder, not everyone has to ride in a car — things can be different,” Freedman says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12767122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-800x450.jpg\" alt=\"ARTS_CUSTOMEBIKES_BUG\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unlike most tandem bikes where riders sit front and back, Freedman’s design allows for a rider on top and another below, like on a double-decker bus. The Boolander also has optional swing-out landers or roots that stabilize the rig when mounting, dismounting, starting, and stopping.\u003c/p>\n\u003cp>Freedman has never owned a car. The Massachusetts-native moved to the Bay Area in 2000 for a job in tech, but quickly fell into the Bay Area bike community. In 2003, Freedman founded \u003ca href=\"http://rockthebike.com/store/\" target=\"_blank\" rel=\"noopener\">Rock the Bike\u003c/a>, an Oakland-based non-profit that provides pedal-power bikes and generators for public events. Two of Rock the Bike’s generators were used at the main protest camp at Standing Rock last fall.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Freedman is also passionate about custom art bikes. His first creation, a tree-shaped bike named “El Arbor,” has become a fixture at many environment-themed events.\u003c/p>\n\u003cp>Facing the culture of climate denial coming from President Trump’s White House, Freedman hopes the Boolander will play a small role in helping to sustain and grow participation in the climate movement.\u003c/p>\n\u003cp>In December, he brought the Boolander to a “Stand Up for Science” rally organized by the grassroots climate change advocacy organization \u003ca href=\"https://350.org/\" target=\"_blank\" rel=\"noopener\">350.org\u003c/a>, where attendees lined up for a chance to go for a ride. “The important part of a rally are a lot of people showing up,” Freedman says. “But having things to do and see to make it fun can motivate people to go to the next one.”\u003c/p>\n\u003cp>The 200-mile Climate Ride, which begins on Saturday, Feb. 25, is going to be a test of the Boolander’s mettle: Freedman (who says he’ll be riding solo this time) will ascend from below sea level to more than 5,000-feet in elevation on the bike. And he plans to \u003ca href=\"http://TinyURL.com/hm4yehc\" target=\"_blank\" rel=\"noopener\">raise money\u003c/a> while he’s at it, splitting the donations he raises between Bike East Bay, 350.org, and the \u003ca href=\"http://www.climatedisobedience.org/\" target=\"_blank\" rel=\"noopener\">Climate Disobedience Center\u003c/a>.\u003c/p>\n\u003cp>\u003cem>— Video by Isara Krieger, Text by Kelly Whalen \u003c/em>\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>When cyclists from around the country participate in the four-day \u003ca href=\"http://www.climateride.org/events/death-valley-ride\" target=\"_blank\" rel=\"noopener\">Climate Ride\u003c/a> in Death Valley next week to raise awareness of and support for environmental organizations, Paul Freedman is certain to turn heads riding atop his “Boolander.”\u003c/p>\n\u003cp>That’s the name the 39-year-old, San Francisco-based artist, bicycle maker and activist has given to the fantastical-looking, bamboo-framed tandem he custom-built to make a point about the environmental benefits of using sustainable materials and pedal power.\u003c/p>\n\u003cp>“To sit up high, riding on a goofy tall bike, I’m a reminder, not everyone has to ride in a car — things can be different,” Freedman says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12767122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-800x450.jpg\" alt=\"ARTS_CUSTOMEBIKES_BUG\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/ARTS_CUSTOMEBIKES_BUG-520x293.jpg 520w\" 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>Unlike most tandem bikes where riders sit front and back, Freedman’s design allows for a rider on top and another below, like on a double-decker bus. The Boolander also has optional swing-out landers or roots that stabilize the rig when mounting, dismounting, starting, and stopping.\u003c/p>\n\u003cp>Freedman has never owned a car. The Massachusetts-native moved to the Bay Area in 2000 for a job in tech, but quickly fell into the Bay Area bike community. In 2003, Freedman founded \u003ca href=\"http://rockthebike.com/store/\" target=\"_blank\" rel=\"noopener\">Rock the Bike\u003c/a>, an Oakland-based non-profit that provides pedal-power bikes and generators for public events. Two of Rock the Bike’s generators were used at the main protest camp at Standing Rock last fall.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Freedman is also passionate about custom art bikes. His first creation, a tree-shaped bike named “El Arbor,” has become a fixture at many environment-themed events.\u003c/p>\n\u003cp>Facing the culture of climate denial coming from President Trump’s White House, Freedman hopes the Boolander will play a small role in helping to sustain and grow participation in the climate movement.\u003c/p>\n\u003cp>In December, he brought the Boolander to a “Stand Up for Science” rally organized by the grassroots climate change advocacy organization \u003ca href=\"https://350.org/\" target=\"_blank\" rel=\"noopener\">350.org\u003c/a>, where attendees lined up for a chance to go for a ride. “The important part of a rally are a lot of people showing up,” Freedman says. “But having things to do and see to make it fun can motivate people to go to the next one.”\u003c/p>\n\u003cp>The 200-mile Climate Ride, which begins on Saturday, Feb. 25, is going to be a test of the Boolander’s mettle: Freedman (who says he’ll be riding solo this time) will ascend from below sea level to more than 5,000-feet in elevation on the bike. And he plans to \u003ca href=\"http://TinyURL.com/hm4yehc\" target=\"_blank\" rel=\"noopener\">raise money\u003c/a> while he’s at it, splitting the donations he raises between Bike East Bay, 350.org, and the \u003ca href=\"http://www.climatedisobedience.org/\" target=\"_blank\" rel=\"noopener\">Climate Disobedience Center\u003c/a>.\u003c/p>\n\u003cp>\u003cem>— Video by Isara Krieger, Text by Kelly Whalen \u003c/em>\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This Fashion Week, designers have come up with widely varying ways to comment, either overtly or not, on the nation’s political situation. Naeem Khan decided to use poetry.\u003c/p>\n\u003cp>As the final design made its way down the runway on Tuesday — a grand, glistening, golden bridal gown, with a gold floral crown and a cascading veil with a black-and-gold train — the soundtrack played Maya Angelou reading her poem, “Human Family.”\u003c/p>\n\u003cp>“The variety of our skin tones can confuse, bemuse, delight, brown and pink and beige and purple, tan and blue and white,” the poem reads in part.\u003c/p>\n\u003cp>It closes by saying, three times: “We are more alike, my friends, than we are unalike.”\u003c/p>\n\u003cp>Backstage, Khan spoke about President Donald Trump’s travel ban and its potential impact on the fashion industry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You look at the fashion business, it drives the economy of our country,” said Khan, who was born in India and is a U.S. citizen. “It’s the third or fourth largest business in America. You cannot have a business so big and have a travel ban.”\u003c/p>\n\u003cp>He added: “You look across all the designers … we bring diversity. And we make business by being all together to create newness mixed with volume mixed with so many amazing, beautiful things that come from different parts of the world. So we cannot have a travel ban. Especially if it’s confined to one community. I mean that is absolutely not acceptable because that’s not our Constitution.”\u003c/p>\n\u003cp>Khan was a favorite designer of former first lady Michelle Obama, and famously designed the shimmering gown she wore to the India state dinner — her first.\u003c/p>\n\u003cp>There were plenty of equally shimmering gowns at Tuesday’s runway show, including a few striking Deco-inspired looks — in gold metallic thread, or sequins. Khan also showed flouncy party dresses in tea length; a silvery sequined dress with ruffle straps and a peplum detail looked like almost like a very chic suit of armor. Embellishment was still key; Khan said he had experimented with new types of embroidery and placing sequins at different angles, to create texture and catch the light.\u003c/p>\n\u003cp>The collection began with somewhat more casual looks, part of an effort by Khan to expand more into daywear — animal print coats, print dresses, or a beaded jacket over drawstring pants. In an especially bright ensemble, high embroidered boots matched the embroidery on the dress, for shoulder-to-toe color.\u003c/p>\n\u003cp>“The inspiration was this larger-than-life woman who is my client, who is all the women I dress,” Khan said. “There are women across the world who wear my clothes, so how do I take different art from different parts of the world in today’s climate to show … diversity and beauty? This is the collection.”\u003c/p>\n\u003cp>Among the guests was actress Mandy Moore, star of TV’s “This Is Us.” She opted against a dress, given the weather, and wore one of Khan’s beaded, full-length vests.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I just have been introduced to Naeem’s stuff,” she said. “I wore one of his dresses to the Golden Globes this year and was floored by how empowered I felt.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Fashion Week, designers have come up with widely varying ways to comment, either overtly or not, on the nation’s political situation. Naeem Khan decided to use poetry.\u003c/p>\n\u003cp>As the final design made its way down the runway on Tuesday — a grand, glistening, golden bridal gown, with a gold floral crown and a cascading veil with a black-and-gold train — the soundtrack played Maya Angelou reading her poem, “Human Family.”\u003c/p>\n\u003cp>“The variety of our skin tones can confuse, bemuse, delight, brown and pink and beige and purple, tan and blue and white,” the poem reads in part.\u003c/p>\n\u003cp>It closes by saying, three times: “We are more alike, my friends, than we are unalike.”\u003c/p>\n\u003cp>Backstage, Khan spoke about President Donald Trump’s travel ban and its potential impact on the fashion industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You look at the fashion business, it drives the economy of our country,” said Khan, who was born in India and is a U.S. citizen. “It’s the third or fourth largest business in America. You cannot have a business so big and have a travel ban.”\u003c/p>\n\u003cp>He added: “You look across all the designers … we bring diversity. And we make business by being all together to create newness mixed with volume mixed with so many amazing, beautiful things that come from different parts of the world. So we cannot have a travel ban. Especially if it’s confined to one community. I mean that is absolutely not acceptable because that’s not our Constitution.”\u003c/p>\n\u003cp>Khan was a favorite designer of former first lady Michelle Obama, and famously designed the shimmering gown she wore to the India state dinner — her first.\u003c/p>\n\u003cp>There were plenty of equally shimmering gowns at Tuesday’s runway show, including a few striking Deco-inspired looks — in gold metallic thread, or sequins. Khan also showed flouncy party dresses in tea length; a silvery sequined dress with ruffle straps and a peplum detail looked like almost like a very chic suit of armor. Embellishment was still key; Khan said he had experimented with new types of embroidery and placing sequins at different angles, to create texture and catch the light.\u003c/p>\n\u003cp>The collection began with somewhat more casual looks, part of an effort by Khan to expand more into daywear — animal print coats, print dresses, or a beaded jacket over drawstring pants. In an especially bright ensemble, high embroidered boots matched the embroidery on the dress, for shoulder-to-toe color.\u003c/p>\n\u003cp>“The inspiration was this larger-than-life woman who is my client, who is all the women I dress,” Khan said. “There are women across the world who wear my clothes, so how do I take different art from different parts of the world in today’s climate to show … diversity and beauty? This is the collection.”\u003c/p>\n\u003cp>Among the guests was actress Mandy Moore, star of TV’s “This Is Us.” She opted against a dress, given the weather, and wore one of Khan’s beaded, full-length vests.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I just have been introduced to Naeem’s stuff,” she said. “I wore one of his dresses to the Golden Globes this year and was floored by how empowered I felt.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170113.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Last week, we talked about \u003ca href=\"http://www.fogfair.com\" target=\"_blank\" rel=\"noopener\">Fog Design + Art\u003c/a>, the art fair opening today (Jan. 12) at Fort Mason, but we neglected another gathering of galleries: \u003ca href=\"http://www.art-untitled.com\" target=\"_blank\" rel=\"noopener\">Untitled, San Francisco\u003c/a> at Pier 70 in the Dogpatch, a new outpost for an art fair out of Miami Beach. Perhaps the competition will make them both better, and the art more affordable (not likely). Now here’s the show:\u003c/p>\n\u003cfigure id=\"attachment_12617116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg\" alt=\"Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms' German Requiem \" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms’ German Requiem. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: Brahms’ \u003cem>German Requiem\u003c/em> is a gorgeous expression of the joy that can come after great sorrow. The student musicians from the Ruth Asawa School of the Arts have every right to those emotions, after the death of junior and chorus member \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/draven-mcgill/\" target=\"_blank\" rel=\"noopener\">Draven McGill\u003c/a> and alum \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener\">Johnny Igaz \u003c/a>in the Ghost Ship fire in December. The performance at the Calvary Presyterian Church in San Francisco is dedicated to the two young men. Details \u003ca href=\"http://www.sfsota.org/calendar3/brahms-requiem1132017\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg\" alt=\"Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis)\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1180x541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-520x238.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2.jpg 1560w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis). \u003ccite>(Photo: Taylor Sanders/City Lights Theater Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 19–Feb. 19\u003c/strong>: Berkeley playwright \u003ca href=\"http://corporate.kabam.com/leadership/\" target=\"_blank\" rel=\"noopener\">Aaron Loeb\u003c/a> (\u003cem>Abraham Lincoln’s Big Gay Dance Party) \u003c/em>wrote \u003cem>Ideation\u003c/em> a few years ago while working with consultants in his day job as a video game executive, and while his wife led a civil suit against the former defense minister of Somalia. \u003cem>Ideation\u003c/em> melds those elements into a show that will seem very familiar at first to anyone who works in a modern office — with tightly wound corporate types outlining strategies on a white board — except they’re plotting something very creepy, reminiscent of a police state. It’s good to see this show get a fresh production in Silicon Valley, where companies sometimes help foreign governments do not-so-nice things like spy on dissidents. Details for \u003cem>Ideation\u003c/em>’s run at \u003ca href=\"http://cltc.org/\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company \u003c/a>in San Jose are \u003ca href=\"http://cltc.org/explore-our-2016-17-season/ideation/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aIjjB2KLCJQ\u003c/p>\n\u003cp>\u003cstrong>Jan. 19\u003c/strong>: Glasgow-based \u003ca href=\"http://www.mogwai.co.uk/\" target=\"_blank\" rel=\"noopener\">Mogwai\u003c/a> makes trance-like prog rock, and the band’s new album, \u003cem>Atomic\u003c/em>, serves a double mission: it’s also the soundtrack to the British documentary \u003cem>Atomic: Living in Dread and Promise\u003c/em>, about the prospect of nuclear warfare. Band member Stuart Braithwaite says Mogwai has been wanting to make music about the threat of nuclear annihilation ever since visiting Hiroshima some years ago. Mogwai is showing the film and doing the live soundtrack on its current tour; perhaps our President-elect should see the film before \u003ca href=\"https://twitter.com/realdonaldtrump/status/811977223326625792?lang=en\" target=\"_blank\" rel=\"noopener\">tweeting about the need for a new arms race\u003c/a>. Details for Mogwai’s show at the UC Theatre in Berkeley are \u003ca href=\"//www.theuctheatre.org/event/1394713-mogwai-play-atomic-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jiXy25ejFzU\u003c/p>\n\u003cp>Jan. 13–14: \u003ca href=\"http://www.dancebrigade.org/\" target=\"_blank\" rel=\"noopener\">Dance Brigade\u003c/a> founder Krissy Keefer says the company’s idea has always been to make dance infused with the same passion and politics as one finds in the songs of Woody Guthrie or Holly Near. The company is now celebrating 40 years of that kinetic mix of feminist activism and modern dance with a timely anniversary show, \u003cem>Gracias a la Vida — Love in a Bitter Time\u003c/em>, featuring dances on NSA Spying and the election of Donald Trump. “We don’t mince our words,” Keefer told me at her Mission District studio. “We make proclamations, declarations, and accusations and observations and we articulate them with humor and poetry and great resolve. People’s heart channels are opened because the dancing is so beautiful.” And it’s a \u003cstrong>cheap thrill\u003c/strong> — tickets for their \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> shows start at just $10, with a matinee for just $5. Details \u003ca href=\"https://www.ybca.org/whats-on/dance-brigade\" target=\"_blank\" rel=\"noopener\">here \u003c/a>or \u003ca href=\"http://www.dancebrigade.org/performances/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hL28CrEaOsE\u003c/p>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: \u003ca href=\"http://joebagale.com/\" target=\"_blank\" rel=\"noopener\">Joe Bagale\u003c/a> sounds a bit like the love child of Stevie Wonder and Parliament Funkadelic. He calls his new band Otis McDonald (Adam Theis, Nino Moschella, Daniel Casares, Max Cowan and Max Miller); “Otis” coming from bluesman Shuggie Otis and “McDonald” from the Doobie Brothers’ Michael McDonald. But all you need to know is that the new songs are a funky success. Details for his show at Slim’s are right \u003ca href=\"http://www.slimspresents.com/event/sals-greenhouse-slims-w-otis-mcdonald-agapesoul-w-special-guest-martin-luther-mccoy/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg\" alt=\"Litquake asks a panel of writers to respond to President-elect Donald Trump\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358.jpg 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Litquake asks a panel of writers to respond to President-elect Donald Trump. \u003ccite>(Photo: Image courtesy of Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15 & 18\u003c/strong>: Many writers around the country and the Bay Area are troubled by President-elect Donald Trump’s comments on limits to press freedom. On Sunday, Jan. 15, Oakland’s Starline Social Club will host \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/15/writers-resist\" target=\"_blank\" rel=\"noopener\">Writers Resist\u003c/a>, featuring Jane Hirshfield, D.A. Powell, Solmaz Sharif, Beth Nguyen, Ishmael Reed and others. Details \u003ca href=\"https://www.facebook.com/events/1879182968971703/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And on Wednesday, Jan. 18, \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a> sponsors \u003cem>Writers Respond to Trump\u003c/em>, where they ask the question, “Do we publish a manifesto, or curl up in the fetal position?” The program at the main branch of the SF Public Library will feature Mills Professor and poet Elmaz Abinader, comedian Zahra Noorbaksh, novelist Robert Mailer Anderson, poet devorah major, and chief pot-stirrer Ishmael Reed. That’s free, and a \u003cstrong>cheap thrill\u003c/strong>. Details \u003ca href=\"http://www.litquake.org/events/no-shadow-without-light-writers-respond-trump\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "The Do List this week features writers on Trump, retro soul, and an activist dance brigade.",
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"title": "Cy and David's Picks: Love in Bitter Times, Corporatizing the Unthinkable, and Writers on Trump | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170113.mp3\u003cbr>\n\u003c/aside>\n\u003cp>Last week, we talked about \u003ca href=\"http://www.fogfair.com\" target=\"_blank\" rel=\"noopener\">Fog Design + Art\u003c/a>, the art fair opening today (Jan. 12) at Fort Mason, but we neglected another gathering of galleries: \u003ca href=\"http://www.art-untitled.com\" target=\"_blank\" rel=\"noopener\">Untitled, San Francisco\u003c/a> at Pier 70 in the Dogpatch, a new outpost for an art fair out of Miami Beach. Perhaps the competition will make them both better, and the art more affordable (not likely). Now here’s the show:\u003c/p>\n\u003cfigure id=\"attachment_12617116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg\" alt=\"Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms' German Requiem \" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/FullSizeRender-6.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Grzeca leads the Ruth Asawa San Francisco School of the Arts orchestra and chorus in a performance of Brahms’ German Requiem. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 13\u003c/strong>: Brahms’ \u003cem>German Requiem\u003c/em> is a gorgeous expression of the joy that can come after great sorrow. The student musicians from the Ruth Asawa School of the Arts have every right to those emotions, after the death of junior and chorus member \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/draven-mcgill/\" target=\"_blank\" rel=\"noopener\">Draven McGill\u003c/a> and alum \u003ca href=\"https://ww2.kqed.org/arts/2016/12/11/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration/\" target=\"_blank\" rel=\"noopener\">Johnny Igaz \u003c/a>in the Ghost Ship fire in December. The performance at the Calvary Presyterian Church in San Francisco is dedicated to the two young men. Details \u003ca href=\"http://www.sfsota.org/calendar3/brahms-requiem1132017\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg\" alt=\"Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis)\" width=\"800\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-800x367.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-768x352.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1020x468.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-1180x541.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-960x440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-240x110.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-375x172.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2-520x238.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ideation-2.jpg 1560w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Corporate consultants with a creepy agenda: Pictured, from left: Brock (George Psarras), Sandeep (Sunny Moza), Hannah (Lisa Mallette), Ted (Tom Gough) and Scooter (Max Tachis). \u003ccite>(Photo: Taylor Sanders/City Lights Theater Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 19–Feb. 19\u003c/strong>: Berkeley playwright \u003ca href=\"http://corporate.kabam.com/leadership/\" target=\"_blank\" rel=\"noopener\">Aaron Loeb\u003c/a> (\u003cem>Abraham Lincoln’s Big Gay Dance Party) \u003c/em>wrote \u003cem>Ideation\u003c/em> a few years ago while working with consultants in his day job as a video game executive, and while his wife led a civil suit against the former defense minister of Somalia. \u003cem>Ideation\u003c/em> melds those elements into a show that will seem very familiar at first to anyone who works in a modern office — with tightly wound corporate types outlining strategies on a white board — except they’re plotting something very creepy, reminiscent of a police state. It’s good to see this show get a fresh production in Silicon Valley, where companies sometimes help foreign governments do not-so-nice things like spy on dissidents. Details for \u003cem>Ideation\u003c/em>’s run at \u003ca href=\"http://cltc.org/\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company \u003c/a>in San Jose are \u003ca href=\"http://cltc.org/explore-our-2016-17-season/ideation/\" target=\"_blank\" rel=\"noopener\">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/aIjjB2KLCJQ'\n title='//www.youtube.com/embed/aIjjB2KLCJQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 19\u003c/strong>: Glasgow-based \u003ca href=\"http://www.mogwai.co.uk/\" target=\"_blank\" rel=\"noopener\">Mogwai\u003c/a> makes trance-like prog rock, and the band’s new album, \u003cem>Atomic\u003c/em>, serves a double mission: it’s also the soundtrack to the British documentary \u003cem>Atomic: Living in Dread and Promise\u003c/em>, about the prospect of nuclear warfare. Band member Stuart Braithwaite says Mogwai has been wanting to make music about the threat of nuclear annihilation ever since visiting Hiroshima some years ago. Mogwai is showing the film and doing the live soundtrack on its current tour; perhaps our President-elect should see the film before \u003ca href=\"https://twitter.com/realdonaldtrump/status/811977223326625792?lang=en\" target=\"_blank\" rel=\"noopener\">tweeting about the need for a new arms race\u003c/a>. Details for Mogwai’s show at the UC Theatre in Berkeley are \u003ca href=\"//www.theuctheatre.org/event/1394713-mogwai-play-atomic-berkeley/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/jiXy25ejFzU'\n title='//www.youtube.com/embed/jiXy25ejFzU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jan. 13–14: \u003ca href=\"http://www.dancebrigade.org/\" target=\"_blank\" rel=\"noopener\">Dance Brigade\u003c/a> founder Krissy Keefer says the company’s idea has always been to make dance infused with the same passion and politics as one finds in the songs of Woody Guthrie or Holly Near. The company is now celebrating 40 years of that kinetic mix of feminist activism and modern dance with a timely anniversary show, \u003cem>Gracias a la Vida — Love in a Bitter Time\u003c/em>, featuring dances on NSA Spying and the election of Donald Trump. “We don’t mince our words,” Keefer told me at her Mission District studio. “We make proclamations, declarations, and accusations and observations and we articulate them with humor and poetry and great resolve. People’s heart channels are opened because the dancing is so beautiful.” And it’s a \u003cstrong>cheap thrill\u003c/strong> — tickets for their \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> shows start at just $10, with a matinee for just $5. Details \u003ca href=\"https://www.ybca.org/whats-on/dance-brigade\" target=\"_blank\" rel=\"noopener\">here \u003c/a>or \u003ca href=\"http://www.dancebrigade.org/performances/\" target=\"_blank\" rel=\"noopener\">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/hL28CrEaOsE'\n title='//www.youtube.com/embed/hL28CrEaOsE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 13\u003c/strong>: \u003ca href=\"http://joebagale.com/\" target=\"_blank\" rel=\"noopener\">Joe Bagale\u003c/a> sounds a bit like the love child of Stevie Wonder and Parliament Funkadelic. He calls his new band Otis McDonald (Adam Theis, Nino Moschella, Daniel Casares, Max Cowan and Max Miller); “Otis” coming from bluesman Shuggie Otis and “McDonald” from the Doobie Brothers’ Michael McDonald. But all you need to know is that the new songs are a funky success. Details for his show at Slim’s are right \u003ca href=\"http://www.slimspresents.com/event/sals-greenhouse-slims-w-otis-mcdonald-agapesoul-w-special-guest-martin-luther-mccoy/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12617521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12617521\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg\" alt=\"Litquake asks a panel of writers to respond to President-elect Donald Trump\" width=\"800\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-375x263.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358-520x364.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/writers-respond-to-trump-e1484255315358.jpg 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Litquake asks a panel of writers to respond to President-elect Donald Trump. \u003ccite>(Photo: Image courtesy of Litquake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15 & 18\u003c/strong>: Many writers around the country and the Bay Area are troubled by President-elect Donald Trump’s comments on limits to press freedom. On Sunday, Jan. 15, Oakland’s Starline Social Club will host \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/15/writers-resist\" target=\"_blank\" rel=\"noopener\">Writers Resist\u003c/a>, featuring Jane Hirshfield, D.A. Powell, Solmaz Sharif, Beth Nguyen, Ishmael Reed and others. Details \u003ca href=\"https://www.facebook.com/events/1879182968971703/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And on Wednesday, Jan. 18, \u003ca href=\"http://www.litquake.org/\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a> sponsors \u003cem>Writers Respond to Trump\u003c/em>, where they ask the question, “Do we publish a manifesto, or curl up in the fetal position?” The program at the main branch of the SF Public Library will feature Mills Professor and poet Elmaz Abinader, comedian Zahra Noorbaksh, novelist Robert Mailer Anderson, poet devorah major, and chief pot-stirrer Ishmael Reed. That’s free, and a \u003cstrong>cheap thrill\u003c/strong>. Details \u003ca href=\"http://www.litquake.org/events/no-shadow-without-light-writers-respond-trump\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Clothes Don't Make a First Lady, But They Can Make a Statement",
"headTitle": "Clothes Don’t Make a First Lady, But They Can Make a Statement | KQED",
"content": "\u003cp>From head to toe, a first lady’s look is heavily scrutinized, and Melania Trump will be no exception. But Trump is no stranger to the spotlight: In 2005, she was on the cover of \u003cem>Vogue\u003c/em> in her Dior wedding dress, and she’s modeled for \u003cem>Harper’s Bazaar\u003c/em> and posed nude for \u003cem>GQ\u003c/em>. She also once sold her own line of costume jewelry and watches on QVC.\u003c/p>\n\u003cp>With the whole world watching, the first lady can make a fashion statement like no one else. She can also make a difference during the campaign. In October 2008, just days before the election, Michelle Obama appeared on \u003cem>The Tonight Show\u003c/em> wearing a mustard yellow sweater and printed silk shirt. When Jay Leno asked her what she was wearing, she told him her outfit was from J. Crew. The audience roared with excitement: “We ladies, we know J.Crew,” Obama said knowingly. “You can get some good stuff online.”\u003c/p>\n\u003cp>Chicago boutique owner Ikram Goldman worked as Obama’s fashion consultant at the time. She says, “The idea of her being inclusive was very important, and I think it was important to other people who were looking at her to feel like they can have access to that as well.”\u003c/p>\n\u003cp>Obama also championed young American designers like Jason Wu, whose career took off after she wore his one-shouldered, white chiffon gown to President Obama’s 2009 inaugural balls. Goldman helped select the gown but kept it a secret until that night. She says when Wu saw it on TV, he called her. “He was crying. He was shocked. He was happy. He couldn’t believe it,” Goldman remembers.\u003c/p>\n\u003cfigure id=\"attachment_12603867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-800x600.jpg\" alt=\"Michelle Obama appeared on <em>The Tonight Show</em> on Oct. 27, 2008, just days before the election.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12603867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Obama appeared on \u003cem>The Tonight Show\u003c/em> on Oct. 27, 2008, just days before the election. \u003ccite>(Photo: Kevork Djansezian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Obama was embraced by the fashion industry, but Melania Trump comes from it. A former model, Trump seems to have a preference for European designers. She’s often seen wearing such luxury brands such as Gucci and Dolce & Gabbana, most of which she reportedly bought off the rack.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Expensive” and “body conscious” are among the first words Robin Givhan uses when asked to describe Trump’s style. Givhan, a Pulitzer Prize-winning fashion critic for \u003cem>The Washington Post\u003c/em>, says, “It speaks to a bank account; it speaks to a particular kind of social life; and it speaks to a particular tribe of women who exist in New York, in particular. … They lead very comfortable lives. … They have both the time and the energy to attend to themselves.” Givhan says Trump’s look has “a polish to it, a glamour to it, but not in a particularly personal or individual way.”\u003c/p>\n\u003cp>Like Michelle Obama before her, Melania Trump’s choices are already making an impact. For her speech at the Republican National Convention this summer, Trump wore an ivory, cotton and silk dress with sleeves that billowed at the elbows. The $2,195 dress (by Serbian-born designer Roksanda Ilincic) reportedly sold out in the days following Trump’s speech.\u003c/p>\n\u003cfigure id=\"attachment_12603869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-800x450.jpg\" alt=\"Melania Trump delivered her Republican National Convention speech in a $2,195 dress by Serbian-born designer Roksanda Ilincic.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12603869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melania Trump delivered her Republican National Convention speech in a $2,195 dress by Serbian-born designer Roksanda Ilincic. \u003ccite>(Photo: Timothy A. Clary/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, retailers in Washington, D.C., are getting ready for a very different style of first lady. The ladies consignment shop Inga’s Once Is Not Enough is something of an institution in the nation’s capital, especially for women who need to dress for high-powered, formal events on a federal government salary. Sorting through the racks, owner Inga Guen says she would love to dress Melania Trump. She pulls out an olive green Oscar de la Renta dress, hand-embroidered with ivory beading, and a black cashmere jacket with a fur collar by Valentino. “She would look très chic — très, très, très chic — in this,” Guen says.\u003c/p>\n\u003cp>Guen describes Trump’s style as daring and slightly eccentric with a European sensibility. She says she’s already had three new clients come into her shop who’ve been hired by the new administration. “I have no idea how they heard about me, but I dressed them and they were so, so very happy to have met Melania Trump,” she says. Asked whether their style was anything like Trump’s, Guen replies, “Au contraire, it was not similar to her at all. But I said, ‘We have to put a little bit of oomph in your wardrobe right now, we have to be a little bit glamourous.’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Guen hopes to do business with Trump, but the fashion industry is splitting at the seams over whether to work with her. Some designers have said absolutely not; others say it would be an honor to dress any first lady. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Clothes+Don%27t+Make+A+First+Lady%2C+But+They+Can+Make+A+Statement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From head to toe, a first lady’s look is heavily scrutinized, and Melania Trump will be no exception. But Trump is no stranger to the spotlight: In 2005, she was on the cover of \u003cem>Vogue\u003c/em> in her Dior wedding dress, and she’s modeled for \u003cem>Harper’s Bazaar\u003c/em> and posed nude for \u003cem>GQ\u003c/em>. She also once sold her own line of costume jewelry and watches on QVC.\u003c/p>\n\u003cp>With the whole world watching, the first lady can make a fashion statement like no one else. She can also make a difference during the campaign. In October 2008, just days before the election, Michelle Obama appeared on \u003cem>The Tonight Show\u003c/em> wearing a mustard yellow sweater and printed silk shirt. When Jay Leno asked her what she was wearing, she told him her outfit was from J. Crew. The audience roared with excitement: “We ladies, we know J.Crew,” Obama said knowingly. “You can get some good stuff online.”\u003c/p>\n\u003cp>Chicago boutique owner Ikram Goldman worked as Obama’s fashion consultant at the time. She says, “The idea of her being inclusive was very important, and I think it was important to other people who were looking at her to feel like they can have access to that as well.”\u003c/p>\n\u003cp>Obama also championed young American designers like Jason Wu, whose career took off after she wore his one-shouldered, white chiffon gown to President Obama’s 2009 inaugural balls. Goldman helped select the gown but kept it a secret until that night. She says when Wu saw it on TV, he called her. “He was crying. He was shocked. He was happy. He couldn’t believe it,” Goldman remembers.\u003c/p>\n\u003cfigure id=\"attachment_12603867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-800x600.jpg\" alt=\"Michelle Obama appeared on <em>The Tonight Show</em> on Oct. 27, 2008, just days before the election.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12603867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/ap_081027022649-5c6291d972a1e4fb14b6c4f44212321d723d5162.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Obama appeared on \u003cem>The Tonight Show\u003c/em> on Oct. 27, 2008, just days before the election. \u003ccite>(Photo: Kevork Djansezian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Obama was embraced by the fashion industry, but Melania Trump comes from it. A former model, Trump seems to have a preference for European designers. She’s often seen wearing such luxury brands such as Gucci and Dolce & Gabbana, most of which she reportedly bought off the rack.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Expensive” and “body conscious” are among the first words Robin Givhan uses when asked to describe Trump’s style. Givhan, a Pulitzer Prize-winning fashion critic for \u003cem>The Washington Post\u003c/em>, says, “It speaks to a bank account; it speaks to a particular kind of social life; and it speaks to a particular tribe of women who exist in New York, in particular. … They lead very comfortable lives. … They have both the time and the energy to attend to themselves.” Givhan says Trump’s look has “a polish to it, a glamour to it, but not in a particularly personal or individual way.”\u003c/p>\n\u003cp>Like Michelle Obama before her, Melania Trump’s choices are already making an impact. For her speech at the Republican National Convention this summer, Trump wore an ivory, cotton and silk dress with sleeves that billowed at the elbows. The $2,195 dress (by Serbian-born designer Roksanda Ilincic) reportedly sold out in the days following Trump’s speech.\u003c/p>\n\u003cfigure id=\"attachment_12603869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-800x450.jpg\" alt=\"Melania Trump delivered her Republican National Convention speech in a $2,195 dress by Serbian-born designer Roksanda Ilincic.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12603869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/gettyimages-577293608_wide-7a07cedc32bf16fb98482a7831c5511cbeb60b42.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melania Trump delivered her Republican National Convention speech in a $2,195 dress by Serbian-born designer Roksanda Ilincic. \u003ccite>(Photo: Timothy A. Clary/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, retailers in Washington, D.C., are getting ready for a very different style of first lady. The ladies consignment shop Inga’s Once Is Not Enough is something of an institution in the nation’s capital, especially for women who need to dress for high-powered, formal events on a federal government salary. Sorting through the racks, owner Inga Guen says she would love to dress Melania Trump. She pulls out an olive green Oscar de la Renta dress, hand-embroidered with ivory beading, and a black cashmere jacket with a fur collar by Valentino. “She would look très chic — très, très, très chic — in this,” Guen says.\u003c/p>\n\u003cp>Guen describes Trump’s style as daring and slightly eccentric with a European sensibility. She says she’s already had three new clients come into her shop who’ve been hired by the new administration. “I have no idea how they heard about me, but I dressed them and they were so, so very happy to have met Melania Trump,” she says. Asked whether their style was anything like Trump’s, Guen replies, “Au contraire, it was not similar to her at all. But I said, ‘We have to put a little bit of oomph in your wardrobe right now, we have to be a little bit glamourous.’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Guen hopes to do business with Trump, but the fashion industry is splitting at the seams over whether to work with her. Some designers have said absolutely not; others say it would be an honor to dress any first lady. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Clothes+Don%27t+Make+A+First+Lady%2C+But+They+Can+Make+A+Statement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-a-wonder-woman-vaudeville-at-sketchfest-and-a-benefit-with-the-dodos",
"title": "Cy and David's Picks: A Wonder Woman, Vaudeville at Sketchfest, and a Benefit with the Dodos",
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"headTitle": "Cy and David’s Picks: A Wonder Woman, Vaudeville at Sketchfest, and a Benefit with the Dodos | KQED",
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"content": "\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170105.mp3\u003cbr>\n\u003c/aside>\n\u003cp>This week we feature the premiere of a new play from Oakland’s\u003ca href=\"http://www.lowerbottomplayaz.com\" target=\"_blank\" rel=\"noopener\"> Lower Bottom Playaz\u003c/a>, but there’s another scrappy little theater company making amazing work as it closes out its 2016 season. The \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Shotgun Players \u003c/a>in Berkeley are doing five shows in repertory, each one a winner. But their \u003cem>Hamlet\u003c/em> is a work of daredevil brilliance, with cast members learning which character they’ll play just before each performance. Catch them before the season ends on Jan. 15th.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Dx-Mho3qU2I\u003c/p>\n\u003cp>\u003cstrong>Jan. 9–11\u003c/strong>: Rock ‘n’ roll lost some great performers this past year, but others are still going strong, like \u003ca href=\"http://www.midgeure.co.uk/\" target=\"_blank\" rel=\"noopener\">Midge Ure\u003c/a>, formerly of Thin Lizzy, Rich Kids, and Ultravox. He’s also one of the masterminds, with Bob Geldof, of Live Aid, and the co-writer of “Do They Know it’s Christmas” — a rock ‘n’ roll Zelig. His charity work earned him an Order of the British Empire, and we’re grateful he keeps performing, despite some serious hearing issues. Ure’s shows in the Bay Area include Jan. 9 at Harlow’s in Sacramento (details \u003ca href=\"http://www.harlows.com/event/1319815-midge-ure-sacramento/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>); Jan. 10 at Petaluma’s Mystic Theatre (details \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6879695&pl=mystic\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>); and Jan. 11 at the Social Hall in San Francisco (details \u003ca href=\"http://www.socialhallsf.com/events/detail/314015\" target=\"_blank\" rel=\"noopener\">here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12585018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12585018 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg\" alt=\"Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of 'Mama at Twilight' at the Flight Deck in Oakland\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1920x1185.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-520x321.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of ‘Mama at Twilight’ at the Flight Deck in Oakland. \u003ccite>(Photo: Tasin Sabir/Lower Bottom Playaz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–29\u003c/strong>: The \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">Lower Bottom Playaz\u003c/a> is one of the groups keeping theater — and theater training — alive in Oakland (along with the \u003ca href=\"http://www.ubuntutheaterproject.com/our-season\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a> and \u003ca href=\"http://www.grittycityrep.org/\" target=\"_blank\" rel=\"noopener\">Gritty City Repertory\u003c/a>). In keeping with their mission to critically examine the lives of people in the inner city, the Playaz are staging an insightful world premiere by founder and company director Ayodele Nzinga.\u003cem> Mama at Twilight: Death by Love\u003c/em> is a play about HIV, incarceration and health care, just in time for the Republican-controlled Congress to show us how much health care, or its absence, matters in America today. Details for the play at Oakland’s Flight Deck are \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vO2URhI_AEk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 6\u003c/strong>: \u003ca href=\"http://www.esandresky.com/\" target=\"_blank\" rel=\"noopener\">Eleonor Sandresky\u003c/a> is on the cutting edge of the avant-garde. She’s a New York-based pianist who’s trying on some new ideas in music and clothing, with what she calls her “Wonder Suit.” This is wearable tech that does more than just track your footsteps. The suit, as you can see in the video above, lets Sandresky integrate live electronics with her movements. Okay, so the Bay Area’s \u003ca href=\"http://www.pamelaz.com/\" target=\"_blank\" rel=\"noopener\">Pamela Z\u003c/a> and Derrique McGee have been playing with these ideas for years. But Sandresky brings her New York sensibility to a new work in which she integrates live piano with recorded space sounds from NASA, taking us, we hope, to a deep listening space. Details for her show at the Center for New Music are \u003ca href=\"http://centerfornewmusic.com/calendar/prism-series-presents-the-wonder-suit-show-a-space-odyssey/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12585219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12585219\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg\" alt=\"Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1920x1312.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1180x806.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-960x656.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair. \u003ccite>(Photo: Courtesy of Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–14\u003c/strong>: The FOG Design+Art Fair is back at Fort Mason for the fourth year. This is a design and art showcase for the whole west coast, and a Bay Area response to the boom in art fairs around the world. This one is carefully curated, with just a few dozen exhibitors from the worlds of art and design. Among the programs is \u003cem>Designing a Legacy: Female Game Changers in Art and Culture\u003c/em>, a panel including Cheryl Haines of the For-Site Foundation and Stephanie Hanor from the Mills College Museum; a conversation with artist and designer Tomás Saraceno, and much more. Details for the fair (tickets are $20 in advance) at Fort Mason are \u003ca href=\"https://fogfair.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-AVifTdjtvE&t=346s\u003c/p>\n\u003cp>\u003cstrong>Jan. 12–29:\u003c/strong> \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a> is back, just in time to bring some humor and comedy to this dark time of year. We’ve got Patton Oswalt coming to town, closeup magician Ricky Jay (who is astonishingly weird and good), tributes to Tig Notaro (David put \u003cem>\u003ca href=\"https://www.amazon.com/One-Mississippi-Season-1/dp/B017APUVI8\" target=\"_blank\" rel=\"noopener\">One Mississippi\u003c/a>,\u003c/em> her new show on Amazon, on his \u003ca href=\"http://www.sfchronicle.com/tv/article/The-10-best-TV-shows-of-2016-and-2-more-10815761.php\" target=\"_blank\" rel=\"noopener\">10 Best List\u003c/a>), and more. There’s even a couple of shows aimed at the President-elect, with comedian Moshe Kahser doing a live podcast called \u003cem>Planning a Non-Violent Revolution in the Age of Trump\u003c/em>.\u003c/p>\n\u003cp>Sketchfest also features an evening of vaudeville hosted by Tony-winning clown \u003ca href=\"http://thebillirwin.com/\" target=\"_blank\" rel=\"noopener\">Bill Irwin\u003c/a>, who performs with his old clowning partner \u003ca href=\"https://en.wikipedia.org/wiki/Geoff_Hoyle\" target=\"_blank\" rel=\"noopener\">Geoff Hoyle\u003c/a> and guitarist \u003ca href=\"http://billfrisell.com/news\" target=\"_blank\" rel=\"noopener\">Bill Frisell\u003c/a>. Irwin is also in San Francisco for a one-man show at the American Conservatory Theater (ACT) about playwright \u003ca href=\"https://en.wikipedia.org/wiki/Samuel_Beckett\" target=\"_blank\" rel=\"noopener\">Samuel Beckett\u003c/a>. Irwin told me by phone that the two shows are deeply connected, because Beckett’s plays were a kind of metaphysical vaudeville. “He and his family went to the variety theater, watching music hall and vaudeville comics,” Irwin said. “He seemed to be, even in his most avant-garde work, alluding to a kind of circus and music hall and vaudeville tradition. And he asked for bowler hats and baggy pants (for the characters of Vladimir and Estragon in \u003cem>Waiting for Godot\u003c/em>).” Details for Sketchfest are \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Irwin’s ACT performance \u003ca href=\"https://tickets.act-sf.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=A5AED901-EFAA-48AB-964C-2A1C7A7F67BB\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3De0E_1x1Rw\u003c/p>\n\u003cp>\u003cstrong>Jan. 7:\u003c/strong> A lot of people are still hurting as a result of the Ghost Ship Fire, and \u003ca href=\"https://ww2.kqed.org/arts/2016/07/21/women-to-watch-sarah-sexton/\" target=\"_blank\" rel=\"noopener\">Sarah Sexton\u003c/a> is producing a benefit concert at the \u003ca href=\"http://www.starlinesocialclub.com/#home-1\" target=\"_blank\" rel=\"noopener\">Starline Social Club \u003c/a>featuring \u003ca href=\"https://www.facebook.com/ritualsofmine/\" target=\"_blank\" rel=\"noopener\">Rituals of Mine\u003c/a>, \u003ca href=\"https://www.facebook.com/waxidols/\" target=\"_blank\" rel=\"noopener\">Wax Idols\u003c/a>, Kool A.D. and others. There will be an altar at the event for offerings from audience members that will later be moved to the site of the fire in Fruitvale. Details for the benefit are \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/7/ghost-ship-benefit-feat-rituals-of-mine-special-guests\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aPQb6XkxNL4\u003c/p>\n\u003cp>\u003cstrong>Jan. 19: \u003c/strong>Here’s a heads up for a show that will quickly sell out: \u003ca href=\"http://www.dodosmusic.net/\" target=\"_blank\" rel=\"noopener\">The Dodos\u003c/a> play a benefit for booker Annie Southworth at Bottom of the Hill. Let’s call it a \u003cstrong>CHEAP THRILL\u003c/strong>, $20 in advance for a good cause and a rare chance to see Meric Long and Logan Kroeber play amazing rock ‘n’ roll. \u003ca href=\"http://www.songkick.com/concerts/28697629-dodos-at-bottom-of-the-hill\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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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"excerpt": "Wonder woman Eleonor Sandresky and '80s survivor Midge Ure are just two of the Do List's many picks this week.",
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"title": "Cy and David's Picks: A Wonder Woman, Vaudeville at Sketchfest, and a Benefit with the Dodos | KQED",
"description": "Wonder woman Eleonor Sandresky and '80s survivor Midge Ure are just two of the Do List's many picks this week.",
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"headline": "Cy and David's Picks: A Wonder Woman, Vaudeville at Sketchfest, and a Benefit with the Dodos",
"datePublished": "2017-01-05T17:00:36-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170105.mp3\u003cbr>\n\u003c/aside>\n\u003cp>This week we feature the premiere of a new play from Oakland’s\u003ca href=\"http://www.lowerbottomplayaz.com\" target=\"_blank\" rel=\"noopener\"> Lower Bottom Playaz\u003c/a>, but there’s another scrappy little theater company making amazing work as it closes out its 2016 season. The \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Shotgun Players \u003c/a>in Berkeley are doing five shows in repertory, each one a winner. But their \u003cem>Hamlet\u003c/em> is a work of daredevil brilliance, with cast members learning which character they’ll play just before each performance. Catch them before the season ends on Jan. 15th.\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/Dx-Mho3qU2I'\n title='//www.youtube.com/embed/Dx-Mho3qU2I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 9–11\u003c/strong>: Rock ‘n’ roll lost some great performers this past year, but others are still going strong, like \u003ca href=\"http://www.midgeure.co.uk/\" target=\"_blank\" rel=\"noopener\">Midge Ure\u003c/a>, formerly of Thin Lizzy, Rich Kids, and Ultravox. He’s also one of the masterminds, with Bob Geldof, of Live Aid, and the co-writer of “Do They Know it’s Christmas” — a rock ‘n’ roll Zelig. His charity work earned him an Order of the British Empire, and we’re grateful he keeps performing, despite some serious hearing issues. Ure’s shows in the Bay Area include Jan. 9 at Harlow’s in Sacramento (details \u003ca href=\"http://www.harlows.com/event/1319815-midge-ure-sacramento/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>); Jan. 10 at Petaluma’s Mystic Theatre (details \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6879695&pl=mystic\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>); and Jan. 11 at the Social Hall in San Francisco (details \u003ca href=\"http://www.socialhallsf.com/events/detail/314015\" target=\"_blank\" rel=\"noopener\">here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12585018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12585018 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg\" alt=\"Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of 'Mama at Twilight' at the Flight Deck in Oakland\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1920x1185.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-520x321.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of ‘Mama at Twilight’ at the Flight Deck in Oakland. \u003ccite>(Photo: Tasin Sabir/Lower Bottom Playaz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–29\u003c/strong>: The \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">Lower Bottom Playaz\u003c/a> is one of the groups keeping theater — and theater training — alive in Oakland (along with the \u003ca href=\"http://www.ubuntutheaterproject.com/our-season\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a> and \u003ca href=\"http://www.grittycityrep.org/\" target=\"_blank\" rel=\"noopener\">Gritty City Repertory\u003c/a>). In keeping with their mission to critically examine the lives of people in the inner city, the Playaz are staging an insightful world premiere by founder and company director Ayodele Nzinga.\u003cem> Mama at Twilight: Death by Love\u003c/em> is a play about HIV, incarceration and health care, just in time for the Republican-controlled Congress to show us how much health care, or its absence, matters in America today. Details for the play at Oakland’s Flight Deck are \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">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/vO2URhI_AEk'\n title='//www.youtube.com/embed/vO2URhI_AEk'\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": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 6\u003c/strong>: \u003ca href=\"http://www.esandresky.com/\" target=\"_blank\" rel=\"noopener\">Eleonor Sandresky\u003c/a> is on the cutting edge of the avant-garde. She’s a New York-based pianist who’s trying on some new ideas in music and clothing, with what she calls her “Wonder Suit.” This is wearable tech that does more than just track your footsteps. The suit, as you can see in the video above, lets Sandresky integrate live electronics with her movements. Okay, so the Bay Area’s \u003ca href=\"http://www.pamelaz.com/\" target=\"_blank\" rel=\"noopener\">Pamela Z\u003c/a> and Derrique McGee have been playing with these ideas for years. But Sandresky brings her New York sensibility to a new work in which she integrates live piano with recorded space sounds from NASA, taking us, we hope, to a deep listening space. Details for her show at the Center for New Music are \u003ca href=\"http://centerfornewmusic.com/calendar/prism-series-presents-the-wonder-suit-show-a-space-odyssey/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12585219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12585219\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg\" alt=\"Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1920x1312.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1180x806.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-960x656.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair. \u003ccite>(Photo: Courtesy of Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–14\u003c/strong>: The FOG Design+Art Fair is back at Fort Mason for the fourth year. This is a design and art showcase for the whole west coast, and a Bay Area response to the boom in art fairs around the world. This one is carefully curated, with just a few dozen exhibitors from the worlds of art and design. Among the programs is \u003cem>Designing a Legacy: Female Game Changers in Art and Culture\u003c/em>, a panel including Cheryl Haines of the For-Site Foundation and Stephanie Hanor from the Mills College Museum; a conversation with artist and designer Tomás Saraceno, and much more. Details for the fair (tickets are $20 in advance) at Fort Mason are \u003ca href=\"https://fogfair.com/\" target=\"_blank\" rel=\"noopener\">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/-AVifTdjtvE'\n title='//www.youtube.com/embed/-AVifTdjtvE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 12–29:\u003c/strong> \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a> is back, just in time to bring some humor and comedy to this dark time of year. We’ve got Patton Oswalt coming to town, closeup magician Ricky Jay (who is astonishingly weird and good), tributes to Tig Notaro (David put \u003cem>\u003ca href=\"https://www.amazon.com/One-Mississippi-Season-1/dp/B017APUVI8\" target=\"_blank\" rel=\"noopener\">One Mississippi\u003c/a>,\u003c/em> her new show on Amazon, on his \u003ca href=\"http://www.sfchronicle.com/tv/article/The-10-best-TV-shows-of-2016-and-2-more-10815761.php\" target=\"_blank\" rel=\"noopener\">10 Best List\u003c/a>), and more. There’s even a couple of shows aimed at the President-elect, with comedian Moshe Kahser doing a live podcast called \u003cem>Planning a Non-Violent Revolution in the Age of Trump\u003c/em>.\u003c/p>\n\u003cp>Sketchfest also features an evening of vaudeville hosted by Tony-winning clown \u003ca href=\"http://thebillirwin.com/\" target=\"_blank\" rel=\"noopener\">Bill Irwin\u003c/a>, who performs with his old clowning partner \u003ca href=\"https://en.wikipedia.org/wiki/Geoff_Hoyle\" target=\"_blank\" rel=\"noopener\">Geoff Hoyle\u003c/a> and guitarist \u003ca href=\"http://billfrisell.com/news\" target=\"_blank\" rel=\"noopener\">Bill Frisell\u003c/a>. Irwin is also in San Francisco for a one-man show at the American Conservatory Theater (ACT) about playwright \u003ca href=\"https://en.wikipedia.org/wiki/Samuel_Beckett\" target=\"_blank\" rel=\"noopener\">Samuel Beckett\u003c/a>. Irwin told me by phone that the two shows are deeply connected, because Beckett’s plays were a kind of metaphysical vaudeville. “He and his family went to the variety theater, watching music hall and vaudeville comics,” Irwin said. “He seemed to be, even in his most avant-garde work, alluding to a kind of circus and music hall and vaudeville tradition. And he asked for bowler hats and baggy pants (for the characters of Vladimir and Estragon in \u003cem>Waiting for Godot\u003c/em>).” Details for Sketchfest are \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Irwin’s ACT performance \u003ca href=\"https://tickets.act-sf.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=A5AED901-EFAA-48AB-964C-2A1C7A7F67BB\" target=\"_blank\" rel=\"noopener\">see 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/3De0E_1x1Rw'\n title='//www.youtube.com/embed/3De0E_1x1Rw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 7:\u003c/strong> A lot of people are still hurting as a result of the Ghost Ship Fire, and \u003ca href=\"https://ww2.kqed.org/arts/2016/07/21/women-to-watch-sarah-sexton/\" target=\"_blank\" rel=\"noopener\">Sarah Sexton\u003c/a> is producing a benefit concert at the \u003ca href=\"http://www.starlinesocialclub.com/#home-1\" target=\"_blank\" rel=\"noopener\">Starline Social Club \u003c/a>featuring \u003ca href=\"https://www.facebook.com/ritualsofmine/\" target=\"_blank\" rel=\"noopener\">Rituals of Mine\u003c/a>, \u003ca href=\"https://www.facebook.com/waxidols/\" target=\"_blank\" rel=\"noopener\">Wax Idols\u003c/a>, Kool A.D. and others. There will be an altar at the event for offerings from audience members that will later be moved to the site of the fire in Fruitvale. Details for the benefit are \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/7/ghost-ship-benefit-feat-rituals-of-mine-special-guests\" target=\"_blank\" rel=\"noopener\">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/aPQb6XkxNL4'\n title='//www.youtube.com/embed/aPQb6XkxNL4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 19: \u003c/strong>Here’s a heads up for a show that will quickly sell out: \u003ca href=\"http://www.dodosmusic.net/\" target=\"_blank\" rel=\"noopener\">The Dodos\u003c/a> play a benefit for booker Annie Southworth at Bottom of the Hill. Let’s call it a \u003cstrong>CHEAP THRILL\u003c/strong>, $20 in advance for a good cause and a rare chance to see Meric Long and Logan Kroeber play amazing rock ‘n’ roll. \u003ca href=\"http://www.songkick.com/concerts/28697629-dodos-at-bottom-of-the-hill\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When most people think of affordable housing, images of faceless, cheap and ugly-looking concrete blocks tend to come most readily to mind. That’s partly why advocates and developers working on affordable housing projects for the homeless find new developments a hard sell with neighborhood homeowners.\u003c/p>\n\u003cp>But good design can do more than win over the neighbors. Good design can also help the formerly homeless heal, and the socially isolated build community.\u003c/p>\n\u003cp>Take\u003ca href=\"http://charitieshousing.org/archer-street/\" target=\"_blank\" rel=\"noopener\"> Archer Studios\u003c/a> in North San Jose, a 42-unit development that rents studios for $250 to $830 a month, on a sliding scale. The structure stands in a neighborhood where comparable apartments rent for an average of $1,500.\u003c/p>\n\u003cp>John Sheehan of \u003ca href=\"http://www.studioearchitects.com/\" target=\"_blank\" rel=\"noopener\">Studio E Architects\u003c/a> likes to think he’s designed something that looks like “a boutique hotel — definitely not an affordable apartment project.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/296716383″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Archer Studios makes a compelling case for prioritizing a strong aesthetic sensibility when it comes to building homes for members of the formerly homeless community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Huge windows in the lobby make the space feel wide open to the neighborhood. The polished concrete floor is stained a dark, warm grey. “Super easy to maintain and the high polish reflects light deep into the project,” says Sheehan, who adds that his aim is not just to create an attractive space, but also one that builds a sense of community.\u003c/p>\n\u003cp>As such, the atrium off the second floor elevator doesn’t just look pretty. The Adirondack chairs and sycamore trees scattered about the space invite residents to hang out and mingle, as well as invite over family and friends.\u003c/p>\n\u003cp>“Good design really solves a lot of problems,” says Dan Wu, who heads \u003ca href=\"http://charitieshousing.org/about-us/\" target=\"_blank\" rel=\"noopener\">Charities Housing\u003c/a>, the non-profit developer that built and manages Archer Studios.\u003c/p>\n\u003cfigure id=\"attachment_12447293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12447293 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-800x450.jpg\" alt='John Sheehan of Studio E Architects says attractive design \"endears\" residents to a building. \"People who have a warm, fuzzy feeling about where they live tend to take care of it better.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Sheehan of Studio E Architects says attractive design “endears” residents to a building. “People who have a warm, fuzzy feeling about where they live tend to take care of it better.” \u003ccite>(Photo: Courtesy of Jeff Peters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chartered by \u003ca href=\"http://www.catholiccharitiesscc.org/\" target=\"_blank\" rel=\"noopener\">Catholic Charities of Santa Clara County\u003c/a>, Charities Housing runs a portfolio of properties throughout the South Bay to provide housing for people with disabilities, people on fixed incomes, and the formerly homeless. “Did we splurge on some of the landscape pots? Yeah!” says Wu. “But is it really kind of paying dividends for us? Absolutely.”\u003c/p>\n\u003cp>Wu says Archer Studios cost $15 million to build, a figure comparable to similar projects in the South Bay. For example, he says\u003ca href=\"http://charitieshousing.org/parkside-studios/\" target=\"_blank\" rel=\"noopener\"> Parkside Studios\u003c/a> in Sunnyvale, a 59-unit development completed in 2015, cost about $22.3 million. “The average cost per unit between the two projects was almost the same when you account for inflation,” Wu says.\u003c/p>\n\u003cp>Some design-forward projects in the region cost more than their bare-bones cousins, but Sheehan and Wu insist they have ways to keep the budget in check. “If we keep things really simple elsewhere, then there’s some budget to splurge in a few key spots,” Sheehan says.\u003c/p>\n\u003cp>Wu points to another key aspect of the design. In an earlier Charities Housing micro-unit project, residents had to make do with a communal kitchen. At Archer, each 285 square foot unit includes a full kitchen. Wu says his organization learned that’s key to feeling like you live in a real home, not an institution.\u003c/p>\n\u003cfigure id=\"attachment_12447107\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12447107\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-800x450.jpg\" alt=\"Estrella Sanchez has built a new life for herself at Archer Studios. The affordable housing complex rents her a micro-unit for $830 a month, but it also embraces her in a development designed to encourage healthy living and community building. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Estrella Sanchez has built a new life for herself at Archer Studios. The affordable housing complex rents her a micro-unit for $830 a month. \u003ccite>(Photo: Daniel Garcia/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>69 year-old Archer Studios resident Estella Sanchez adores her kitchen, because she loves to cook real food. “Not TV dinner food,” she says.\u003c/p>\n\u003cp>Sanchez has lived at Archer Studios for two and a half years. Before that, she was on a waiting list for affordable housing, because her former landlord was raising the rent. “It was up to $1,700. I had nowhere to go,” Sanchez says.\u003c/p>\n\u003cp>Not in this rental market. Not on social security. Sanchez was homeless for 90 days in San Jose, living in her Subaru Legacy. “It gets cold out there,” Sanchez says. “Nobody really wants to help you. Nobody wants to get involved.”\u003c/p>\n\u003cp>Does Sanchez notice design elements like the basalt fountain burbling over a bed of blue glass pebbles in Archer Studios’ atrium? She chuckles at the question. “I’m happy to have a warm, safe, clean place to live,” Sanchez says. “I’m just happy to be off the street.”\u003c/p>\n\u003cfigure id=\"attachment_12447108\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12447108\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-800x450.jpg\" alt=\"67 year-old Jerry Robb and his wife got accepted into a unit at Archer Studios just in the nick of time, as their previous landlord was fixing to double his rent to $2,000 a month. That's even the electricity wasn't always working, the water wasn't always hot, and drug addicts prowled around his apartment.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">67 year-old Jerry Robb and his wife got accepted into a unit at Archer Studios just in the nick of time, as their previous landlord was fixing to double his rent to $2,000 a month. That’s even though the electricity went out, the water went cold, and drug addicts prowled around his apartment. \u003ccite>(Photo: Daniel Garcia/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to underestimate how important safety is to residents. 67 year-old Jerry Robb used to live in a sketchy stretch of South San Jose, just off Senter Road.\u003c/p>\n\u003cp>Safety is topmost in Robb’s mind. He loves that people have to punch in a code to get in the front door. “You haven’t got people prowling around your door at 2, 3 o’ clock in the morning,” he says.\u003c/p>\n\u003cp>Because of the building’s sleek look, Charities Housing didn’t have to fight to win over neighbors to the idea of Archer Studios. But the agency has dealt with a lot of push-back over the years from homeowners who don’t want affordable housing projects near them. “You know, go visit one and really see for yourselves,” Wu urges homeowners.\u003c/p>\n\u003cp>A few weeks ago, Charities Housing celebrated the grand opening of another project, \u003ca href=\"http://charitieshousing.org/2112-monterey/\" target=\"_blank\" rel=\"noopener\">The Met\u003c/a>, in South San Jose. Supervisor Cindy Chavez was one of the local politicians backing the project, and she took to a podium to speak.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Every time you build quality projects like this, that are well managed and stay beautiful, you help us create the public will to get people to be open to affordable housing,” Chavez said, and a ripple of laughter rolled through the crowd.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When most people think of affordable housing, images of faceless, cheap and ugly-looking concrete blocks tend to come most readily to mind. That’s partly why advocates and developers working on affordable housing projects for the homeless find new developments a hard sell with neighborhood homeowners.\u003c/p>\n\u003cp>But good design can do more than win over the neighbors. Good design can also help the formerly homeless heal, and the socially isolated build community.\u003c/p>\n\u003cp>Take\u003ca href=\"http://charitieshousing.org/archer-street/\" target=\"_blank\" rel=\"noopener\"> Archer Studios\u003c/a> in North San Jose, a 42-unit development that rents studios for $250 to $830 a month, on a sliding scale. The structure stands in a neighborhood where comparable apartments rent for an average of $1,500.\u003c/p>\n\u003cp>John Sheehan of \u003ca href=\"http://www.studioearchitects.com/\" target=\"_blank\" rel=\"noopener\">Studio E Architects\u003c/a> likes to think he’s designed something that looks like “a boutique hotel — definitely not an affordable apartment project.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/296716383″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/296716383″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Archer Studios makes a compelling case for prioritizing a strong aesthetic sensibility when it comes to building homes for members of the formerly homeless community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Huge windows in the lobby make the space feel wide open to the neighborhood. The polished concrete floor is stained a dark, warm grey. “Super easy to maintain and the high polish reflects light deep into the project,” says Sheehan, who adds that his aim is not just to create an attractive space, but also one that builds a sense of community.\u003c/p>\n\u003cp>As such, the atrium off the second floor elevator doesn’t just look pretty. The Adirondack chairs and sycamore trees scattered about the space invite residents to hang out and mingle, as well as invite over family and friends.\u003c/p>\n\u003cp>“Good design really solves a lot of problems,” says Dan Wu, who heads \u003ca href=\"http://charitieshousing.org/about-us/\" target=\"_blank\" rel=\"noopener\">Charities Housing\u003c/a>, the non-profit developer that built and manages Archer Studios.\u003c/p>\n\u003cfigure id=\"attachment_12447293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12447293 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-800x450.jpg\" alt='John Sheehan of Studio E Architects says attractive design \"endears\" residents to a building. \"People who have a warm, fuzzy feeling about where they live tend to take care of it better.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23179_Archer1-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Sheehan of Studio E Architects says attractive design “endears” residents to a building. “People who have a warm, fuzzy feeling about where they live tend to take care of it better.” \u003ccite>(Photo: Courtesy of Jeff Peters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chartered by \u003ca href=\"http://www.catholiccharitiesscc.org/\" target=\"_blank\" rel=\"noopener\">Catholic Charities of Santa Clara County\u003c/a>, Charities Housing runs a portfolio of properties throughout the South Bay to provide housing for people with disabilities, people on fixed incomes, and the formerly homeless. “Did we splurge on some of the landscape pots? Yeah!” says Wu. “But is it really kind of paying dividends for us? Absolutely.”\u003c/p>\n\u003cp>Wu says Archer Studios cost $15 million to build, a figure comparable to similar projects in the South Bay. For example, he says\u003ca href=\"http://charitieshousing.org/parkside-studios/\" target=\"_blank\" rel=\"noopener\"> Parkside Studios\u003c/a> in Sunnyvale, a 59-unit development completed in 2015, cost about $22.3 million. “The average cost per unit between the two projects was almost the same when you account for inflation,” Wu says.\u003c/p>\n\u003cp>Some design-forward projects in the region cost more than their bare-bones cousins, but Sheehan and Wu insist they have ways to keep the budget in check. “If we keep things really simple elsewhere, then there’s some budget to splurge in a few key spots,” Sheehan says.\u003c/p>\n\u003cp>Wu points to another key aspect of the design. In an earlier Charities Housing micro-unit project, residents had to make do with a communal kitchen. At Archer, each 285 square foot unit includes a full kitchen. Wu says his organization learned that’s key to feeling like you live in a real home, not an institution.\u003c/p>\n\u003cfigure id=\"attachment_12447107\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12447107\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-800x450.jpg\" alt=\"Estrella Sanchez has built a new life for herself at Archer Studios. The affordable housing complex rents her a micro-unit for $830 a month, but it also embraces her in a development designed to encourage healthy living and community building. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23176_KWED_Estella_0037_16x9-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Estrella Sanchez has built a new life for herself at Archer Studios. The affordable housing complex rents her a micro-unit for $830 a month. \u003ccite>(Photo: Daniel Garcia/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>69 year-old Archer Studios resident Estella Sanchez adores her kitchen, because she loves to cook real food. “Not TV dinner food,” she says.\u003c/p>\n\u003cp>Sanchez has lived at Archer Studios for two and a half years. Before that, she was on a waiting list for affordable housing, because her former landlord was raising the rent. “It was up to $1,700. I had nowhere to go,” Sanchez says.\u003c/p>\n\u003cp>Not in this rental market. Not on social security. Sanchez was homeless for 90 days in San Jose, living in her Subaru Legacy. “It gets cold out there,” Sanchez says. “Nobody really wants to help you. Nobody wants to get involved.”\u003c/p>\n\u003cp>Does Sanchez notice design elements like the basalt fountain burbling over a bed of blue glass pebbles in Archer Studios’ atrium? She chuckles at the question. “I’m happy to have a warm, safe, clean place to live,” Sanchez says. “I’m just happy to be off the street.”\u003c/p>\n\u003cfigure id=\"attachment_12447108\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12447108\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-800x450.jpg\" alt=\"67 year-old Jerry Robb and his wife got accepted into a unit at Archer Studios just in the nick of time, as their previous landlord was fixing to double his rent to $2,000 a month. That's even the electricity wasn't always working, the water wasn't always hot, and drug addicts prowled around his apartment.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/RS23175_KQED_Jerry_0020_16x9-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">67 year-old Jerry Robb and his wife got accepted into a unit at Archer Studios just in the nick of time, as their previous landlord was fixing to double his rent to $2,000 a month. That’s even though the electricity went out, the water went cold, and drug addicts prowled around his apartment. \u003ccite>(Photo: Daniel Garcia/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to underestimate how important safety is to residents. 67 year-old Jerry Robb used to live in a sketchy stretch of South San Jose, just off Senter Road.\u003c/p>\n\u003cp>Safety is topmost in Robb’s mind. He loves that people have to punch in a code to get in the front door. “You haven’t got people prowling around your door at 2, 3 o’ clock in the morning,” he says.\u003c/p>\n\u003cp>Because of the building’s sleek look, Charities Housing didn’t have to fight to win over neighbors to the idea of Archer Studios. But the agency has dealt with a lot of push-back over the years from homeowners who don’t want affordable housing projects near them. “You know, go visit one and really see for yourselves,” Wu urges homeowners.\u003c/p>\n\u003cp>A few weeks ago, Charities Housing celebrated the grand opening of another project, \u003ca href=\"http://charitieshousing.org/2112-monterey/\" target=\"_blank\" rel=\"noopener\">The Met\u003c/a>, in South San Jose. Supervisor Cindy Chavez was one of the local politicians backing the project, and she took to a podium to speak.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Every time you build quality projects like this, that are well managed and stay beautiful, you help us create the public will to get people to be open to affordable housing,” Chavez said, and a ripple of laughter rolled through the crowd.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>By day, Dan Stumpf is a human resources employee for a corporation in downtown San Francisco. But by night, he designs and creates incredibly stylish men’s clothes, from tailored button-down shirts with delicately embroidered cuffs to form-fitting, casual pants.\u003c/p>\n\u003cp>Stumpf is on a mission to make all of the things he wears. He thinks it’ll take him five years to get there. So even though he’s sometimes exhausted after spending long days at the office, he still manages to put in a few hours of work at his sewing machine.\u003c/p>\n\u003cp>“It is a bit of a discipline coming home at night feeling a little tired; and you just want to have a glass of wine and watch TV,” Stumpf says. “But I know that at the end of the week, if I haven’t made some progress or buckled down in the evening and spent three hours making something, I’m going to feel the loss of it or the lack of it.”\u003c/p>\n\u003cp>Stumpf has always possessed a creative streak. He’s played piano since he was a young kid and studied theatre in college. But he’s never thought about art as something he’d do for a living. He views his day job as inspiring and as a way to support his life in the Bay Area. And getting to wear his handmade clothing at work sets him apart from the pack.\u003c/p>\n\u003cp>“Now I go to an office and I can’t perform necessarily theater in front of people or play music with people,” Stumpf says. “But I can wear my clothing at the office and it makes me feel like I’m taking a piece of that creativity with me. I can stand out.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stumpf started making clothes eight or nine years ago, shortly after a co-worker introduced him to the menswear boutiques in downtown San Francisco. He loved the way the clothes looked on the rack. But he was appalled at the high prices and realized that he could potentially make things himself at a far lower cost. So he started visiting fabric stores, borrowed his mom’s sewing machine, and gradually learned his craft through reading library books, watching YouTube videos, and attending a pattern-making class at \u003ca href=\"http://www.apparel-arts.com/\" target=\"_blank\" rel=\"noopener\">Apparel Arts\u003c/a> in Oakland.\u003c/p>\n\u003cp>Stumpf shops at \u003ca href=\"https://www.britexfabrics.com\" target=\"_blank\" rel=\"noopener\">Britex Fabrics\u003c/a> in downtown San Francisco. The store is not only a place to buy fabric, but also offers public classes, and even hosts fashion shows. (The \u003ca href=\"https://www.britexfabrics.com/events\" target=\"_blank\" rel=\"noopener\">next one\u003c/a> is happening on Friday, Sep. 23).\u003c/p>\n\u003cp>Friends and family have asked Stumpf to make clothes for them. He thinks he could make money from his designs. But for right now, given the limited amount of time he has, Stumpf says he’s sticking to outfitting himself. Besides making him look a cut above most other Bay Area men of his age, Stumpf’s fashion habit feeds his soul.\u003c/p>\n\u003cp>“When I finally do get to that sewing stage, that’s kind of the Zen-like place,” Stumpf says. “It’s definitely soothing and when you’re in the right zone, the world kind of falls away.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>—\u003cem>Video by Isara Krieger; story by Chloe Veltman\u003c/em>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By day, Dan Stumpf is a human resources employee for a corporation in downtown San Francisco. But by night, he designs and creates incredibly stylish men’s clothes, from tailored button-down shirts with delicately embroidered cuffs to form-fitting, casual pants.\u003c/p>\n\u003cp>Stumpf is on a mission to make all of the things he wears. He thinks it’ll take him five years to get there. So even though he’s sometimes exhausted after spending long days at the office, he still manages to put in a few hours of work at his sewing machine.\u003c/p>\n\u003cp>“It is a bit of a discipline coming home at night feeling a little tired; and you just want to have a glass of wine and watch TV,” Stumpf says. “But I know that at the end of the week, if I haven’t made some progress or buckled down in the evening and spent three hours making something, I’m going to feel the loss of it or the lack of it.”\u003c/p>\n\u003cp>Stumpf has always possessed a creative streak. He’s played piano since he was a young kid and studied theatre in college. But he’s never thought about art as something he’d do for a living. He views his day job as inspiring and as a way to support his life in the Bay Area. And getting to wear his handmade clothing at work sets him apart from the pack.\u003c/p>\n\u003cp>“Now I go to an office and I can’t perform necessarily theater in front of people or play music with people,” Stumpf says. “But I can wear my clothing at the office and it makes me feel like I’m taking a piece of that creativity with me. I can stand out.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stumpf started making clothes eight or nine years ago, shortly after a co-worker introduced him to the menswear boutiques in downtown San Francisco. He loved the way the clothes looked on the rack. But he was appalled at the high prices and realized that he could potentially make things himself at a far lower cost. So he started visiting fabric stores, borrowed his mom’s sewing machine, and gradually learned his craft through reading library books, watching YouTube videos, and attending a pattern-making class at \u003ca href=\"http://www.apparel-arts.com/\" target=\"_blank\" rel=\"noopener\">Apparel Arts\u003c/a> in Oakland.\u003c/p>\n\u003cp>Stumpf shops at \u003ca href=\"https://www.britexfabrics.com\" target=\"_blank\" rel=\"noopener\">Britex Fabrics\u003c/a> in downtown San Francisco. The store is not only a place to buy fabric, but also offers public classes, and even hosts fashion shows. (The \u003ca href=\"https://www.britexfabrics.com/events\" target=\"_blank\" rel=\"noopener\">next one\u003c/a> is happening on Friday, Sep. 23).\u003c/p>\n\u003cp>Friends and family have asked Stumpf to make clothes for them. He thinks he could make money from his designs. But for right now, given the limited amount of time he has, Stumpf says he’s sticking to outfitting himself. Besides making him look a cut above most other Bay Area men of his age, Stumpf’s fashion habit feeds his soul.\u003c/p>\n\u003cp>“When I finally do get to that sewing stage, that’s kind of the Zen-like place,” Stumpf says. “It’s definitely soothing and when you’re in the right zone, the world kind of falls away.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>—\u003cem>Video by Isara Krieger; story by Chloe Veltman\u003c/em>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
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"link": "/radio/program/latino-usa",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
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