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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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"title": "Fairy Wing Maker Casts Spell on Cosplay Community...and Katy Perry",
"headTitle": "Fairy Wing Maker Casts Spell on Cosplay Community…and Katy Perry | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Angela Jarman knew she had reached a career milestone the minute models strutted down the catwalk of a 2014 Victoria’s Secret fashion show wearing her creations. “They found me through a Google search,” Jarman says. “I thought, if that could happen then I knew I made it.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarman, who is based in Richmond and is 42 years old, makes fairy wings for a living. Victoria’s Secret models wore Jarman’s handiwork at the lingerie company’s 2014 and 2015 fashion shows in London and New York. Last November, Katy Perry donned a set of rhinestone-encrusted, translucent, white wings made by Jarman for the H&M apparel giant’s holiday ad campaign. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"From the Makers of Happy & Merry H&M presents Katy Perry\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/E71sKFD-spQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarman began drawing fantastical and mythical beings when she was in third or fourth grade. “I was always interested in the fantasy genre,” Jarman says. “For a long while unicorns were my main subject matter.” Soon after high school, Jarman decided to get into graphic art and design because her father told her it was a more viable and lucrative career path than drawing wizards and warlocks. Jarman reluctantly agreed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So Jarman went to work as a graphic artist for various small companies such as ScanArt, a printing firm based in Richmond. She also worked for her own children’s entertainment business as well as providing face-painting at kids’ parties and other events.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before long, Jarman was itching to make her own set of fairy wings. “I really wanted an original fairy costume,” Jarman says. Inspired by the fantasy movies \u003cem>The Dark Crystal\u003c/em> and \u003cem>Labyrinth, \u003c/em>Jarman set about creating her party wardrobe. “In each movie there were these iridescent and insect-like fairy wings, instead of the glittery and pink fluffy wings,” Jarman says. “And so I tried to re-create that.”\u003c/p>\n\u003cfigure id=\"attachment_11887834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11887834 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-800x533.jpg\" alt=\"Completed wings ready to be shipped to clients sit in Angela Jarman’s fairy wing workroom in Richmond, California.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Completed wings ready to be shipped to clients sit in Angela Jarman’s fairy wing workroom in Richmond, California. \u003ccite>(Photo: Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For her first set of wings, Jarman used iridescent film, heat set vinyl, and wire. She met a photographer who worked at Avalon Arts, a studio in Vallejo, who had a fairy portrait series. Jarman traded her handmade wings for use at the studio in exchange for professional photos of her artwork. Next, she decided to see how well a pair of her handmade wings would sell. When she posted an ad online, they were snatched up almost immediately.\u003c/p>\n\u003cp>Jarman continued to work at parties as well as for a Halloween supplies company until about 2009, when she ditched the day jobs and became a full-time, fairy-wing-fashioning professional, and launched her own company, \u003ca href=\"http://www.fancyfairy.com/\">Fancy Fairy Wings and Things!\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarman works from her home, where her studio is colorfully decorated with fabrics, plastic \u003c/span>\u003cspan style=\"font-weight: 400\">flowers, glue guns, and sewing machines. Fairy sculptures and paintings cover the walls and shelves, providing inspiration at every turn. In the corner by Jarman’s living room is a life-size, plastic mannequin dressed in a dark purple corset adorned with the artist’s latest set of hand-painted light pink wings. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11891809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11891809 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-800x531.jpg\" alt=\"Angela Jarman demonstrates the process of heat setting the material for her fairy wings.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela Jarman demonstrates the process of heat setting the material for her fairy wings. \u003ccite>(Photo: Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jarman begins the fairy wing-making process by designing a template using Adobe Illustrator and sending it to a metal shop in Napa, where workers cut out the wing frames from large stacks of aluminum sheeting. After that, Jarman sands each frame at her home, then sends them off to a coatings business in Richmond where they are powdered (a process involving the application of colored powders to a grounded metal using an electrostatic gun.)\u003c/p>\n\u003cp>Next, Jarman brings the shaped, sanded, powdered wings back home, where she laminates them with an iridescent film and clear vinyl. Once the laminate has been applied, Jarman heats the wings with a heat gun and smooths the surfaces down until they are as wrinkle-free as possible. For the final step, Jarman cuts out the wings using a heat tool and attaches them to a U-shaped back brace.\u003c/p>\n\u003cp>Jarman typically produces about 10 sets of wings a week and ships them all over the U.S. and Eastern Europe — parts of the world where fairy fans flourish in particularly large numbers. A large majority of her clients are avid cosplayers, who wear the wings as part of their costumes to comic book and fantasy conventions, and Halloween enthusiasts looking to enchant guests at a party. And Jarman’s wings don’t come cheap, \u003cstrong>\u003cspan style=\"font-weight: 400\">costing up to $1,000, depending on th\u003c/span>\u003c/strong>\u003cspan style=\"font-weight: 400\">e style \u003c/span>and\u003cspan style=\"font-weight: 400\"> size of the design.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11891947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11891947 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-800x533.jpg\" alt=\"A model wears the Flora Light Up Fairy Wings designed by Angela Jarman. Photo and wing lighting by Jordan Price.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A model wears the Flora Light Up Fairy Wings designed by Angela Jarman. Photo and wing lighting by Jordan Price. \u003ccite>(Photo: Jordan Price )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are many big, commercial fairy wing makers across the world. Mass-produced wings run on the cheaper side. You can pick up a set for $25 or less at Walmart or Party City. But these products are typically made of inexpensive nylon and can break easily.\u003c/p>\n\u003cp>As a result, Jarman has created a niche for herself and her business has grown rapidly over the years. The wait-list for Fancy Fairy Wings and Things used to be long: customers sometimes had to place their orders more than two months out, until Jarman switched her business model to ready-to-ship. Jarman says there is enough demand for handmade wings that there is little jockeying for fairy wing maker supremacy among artists involved in the industry.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In fact, Jarman considers many of her competitors to be her friends. This number includes Renee Taylor, a fairy wing artist based in Virginia, who makes her products out of stretched papers, and Angelia Doyle of Gossamer Wings based in Texas, whose work is fabric-based. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11887835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11887835 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-800x600.jpg\" alt=\"Victoria’s Secret models Eniko Mihalik (left) and Barbara Fialho (right) wore Jarman’s “Kira” style fairy wings during the 2014 Victoria’s Secret Fashion show. Photo taken by Paul Bayfield of Timesniper.com\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-960x721.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Victoria’s Secret models Eniko Mihalik (left) and Barbara Fialho (right) wore Jarman’s “Kira” style fairy wings during the 2014 Victoria’s Secret Fashion show. \u003ccite>(Photo: Paul Bayfield courtesy of Timesniper.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarman’s fans don’t just come from the pop culture community. Artists of many kinds gravitate towards her work. “Her talent is undeniable,” says Gregangelo \u003c/span>\u003cspan style=\"font-weight: 400\">Herrera,\u003c/span>\u003cspan style=\"font-weight: 400\"> artistic director of \u003ca href=\"http://gregangelo.com/\" target=\"_blank\" rel=\"noopener\">Velocity Circus\u003c/a>, a circus arts company located in San Francisco. “I’ve created characters for performances based on her wings. She is constantly integrating art and technology and her wings are just one of a kind.”\u003c/span>\u003c/p>\n\u003cp>This month, Jarman is preparing to attend the \u003ca href=\"http://labyrinthmasquerade.com/\" target=\"_blank\" rel=\"noopener\">Labyrinth of Jareth Masquerade Ball\u003c/a> in Los Angeles, where she will debut a set of moving wings that will flutter back and forth. Until now, Jarman has only been able to perfect a set of wings that light up using LED-colored lights. But after several months of experimenting, Jarman says she is able to successfully pull off her first set of flutter-capable wings. Jarman did the astethic and design and her boyfriend Jordan Price worked on the majority of the technology and coding.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She plans on putting together an online tutorial to show fairy wing enthusiasts with a technical mindset how to make their own motorized wings. “I always just trying to continue evolving my art and trying to make the most realistic fairy wings as possible,” Jarman says. “Even though fairy wings are just something we imagine.”\u003c/span>\u003c/p>\n\n",
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"excerpt": "Richmond artist Angela Jarman's fairy wing creations are being snapped up by cosplayers, pop stars and big fashion houses alike",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Angela Jarman knew she had reached a career milestone the minute models strutted down the catwalk of a 2014 Victoria’s Secret fashion show wearing her creations. “They found me through a Google search,” Jarman says. “I thought, if that could happen then I knew I made it.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarman, who is based in Richmond and is 42 years old, makes fairy wings for a living. Victoria’s Secret models wore Jarman’s handiwork at the lingerie company’s 2014 and 2015 fashion shows in London and New York. Last November, Katy Perry donned a set of rhinestone-encrusted, translucent, white wings made by Jarman for the H&M apparel giant’s holiday ad campaign. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"From the Makers of Happy & Merry H&M presents Katy Perry\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/E71sKFD-spQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarman began drawing fantastical and mythical beings when she was in third or fourth grade. “I was always interested in the fantasy genre,” Jarman says. “For a long while unicorns were my main subject matter.” Soon after high school, Jarman decided to get into graphic art and design because her father told her it was a more viable and lucrative career path than drawing wizards and warlocks. Jarman reluctantly agreed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So Jarman went to work as a graphic artist for various small companies such as ScanArt, a printing firm based in Richmond. She also worked for her own children’s entertainment business as well as providing face-painting at kids’ parties and other events.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before long, Jarman was itching to make her own set of fairy wings. “I really wanted an original fairy costume,” Jarman says. Inspired by the fantasy movies \u003cem>The Dark Crystal\u003c/em> and \u003cem>Labyrinth, \u003c/em>Jarman set about creating her party wardrobe. “In each movie there were these iridescent and insect-like fairy wings, instead of the glittery and pink fluffy wings,” Jarman says. “And so I tried to re-create that.”\u003c/p>\n\u003cfigure id=\"attachment_11887834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11887834 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-800x533.jpg\" alt=\"Completed wings ready to be shipped to clients sit in Angela Jarman’s fairy wing workroom in Richmond, California.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs08-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Completed wings ready to be shipped to clients sit in Angela Jarman’s fairy wing workroom in Richmond, California. \u003ccite>(Photo: Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For her first set of wings, Jarman used iridescent film, heat set vinyl, and wire. She met a photographer who worked at Avalon Arts, a studio in Vallejo, who had a fairy portrait series. Jarman traded her handmade wings for use at the studio in exchange for professional photos of her artwork. Next, she decided to see how well a pair of her handmade wings would sell. When she posted an ad online, they were snatched up almost immediately.\u003c/p>\n\u003cp>Jarman continued to work at parties as well as for a Halloween supplies company until about 2009, when she ditched the day jobs and became a full-time, fairy-wing-fashioning professional, and launched her own company, \u003ca href=\"http://www.fancyfairy.com/\">Fancy Fairy Wings and Things!\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarman works from her home, where her studio is colorfully decorated with fabrics, plastic \u003c/span>\u003cspan style=\"font-weight: 400\">flowers, glue guns, and sewing machines. Fairy sculptures and paintings cover the walls and shelves, providing inspiration at every turn. In the corner by Jarman’s living room is a life-size, plastic mannequin dressed in a dark purple corset adorned with the artist’s latest set of hand-painted light pink wings. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11891809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11891809 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-800x531.jpg\" alt=\"Angela Jarman demonstrates the process of heat setting the material for her fairy wings.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/160729_fairywings_bhs06-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela Jarman demonstrates the process of heat setting the material for her fairy wings. \u003ccite>(Photo: Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jarman begins the fairy wing-making process by designing a template using Adobe Illustrator and sending it to a metal shop in Napa, where workers cut out the wing frames from large stacks of aluminum sheeting. After that, Jarman sands each frame at her home, then sends them off to a coatings business in Richmond where they are powdered (a process involving the application of colored powders to a grounded metal using an electrostatic gun.)\u003c/p>\n\u003cp>Next, Jarman brings the shaped, sanded, powdered wings back home, where she laminates them with an iridescent film and clear vinyl. Once the laminate has been applied, Jarman heats the wings with a heat gun and smooths the surfaces down until they are as wrinkle-free as possible. For the final step, Jarman cuts out the wings using a heat tool and attaches them to a U-shaped back brace.\u003c/p>\n\u003cp>Jarman typically produces about 10 sets of wings a week and ships them all over the U.S. and Eastern Europe — parts of the world where fairy fans flourish in particularly large numbers. A large majority of her clients are avid cosplayers, who wear the wings as part of their costumes to comic book and fantasy conventions, and Halloween enthusiasts looking to enchant guests at a party. And Jarman’s wings don’t come cheap, \u003cstrong>\u003cspan style=\"font-weight: 400\">costing up to $1,000, depending on th\u003c/span>\u003c/strong>\u003cspan style=\"font-weight: 400\">e style \u003c/span>and\u003cspan style=\"font-weight: 400\"> size of the design.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11891947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11891947 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-800x533.jpg\" alt=\"A model wears the Flora Light Up Fairy Wings designed by Angela Jarman. Photo and wing lighting by Jordan Price.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/FloraLightUpWingsSkyBackground-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A model wears the Flora Light Up Fairy Wings designed by Angela Jarman. Photo and wing lighting by Jordan Price. \u003ccite>(Photo: Jordan Price )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are many big, commercial fairy wing makers across the world. Mass-produced wings run on the cheaper side. You can pick up a set for $25 or less at Walmart or Party City. But these products are typically made of inexpensive nylon and can break easily.\u003c/p>\n\u003cp>As a result, Jarman has created a niche for herself and her business has grown rapidly over the years. The wait-list for Fancy Fairy Wings and Things used to be long: customers sometimes had to place their orders more than two months out, until Jarman switched her business model to ready-to-ship. Jarman says there is enough demand for handmade wings that there is little jockeying for fairy wing maker supremacy among artists involved in the industry.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In fact, Jarman considers many of her competitors to be her friends. This number includes Renee Taylor, a fairy wing artist based in Virginia, who makes her products out of stretched papers, and Angelia Doyle of Gossamer Wings based in Texas, whose work is fabric-based. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11887835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11887835 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-800x600.jpg\" alt=\"Victoria’s Secret models Eniko Mihalik (left) and Barbara Fialho (right) wore Jarman’s “Kira” style fairy wings during the 2014 Victoria’s Secret Fashion show. Photo taken by Paul Bayfield of Timesniper.com\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/EnikoMihalik-BarbaraFialho-Hozier-Victorias-Secret-Fashion-Show-London-2014-960x721.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Victoria’s Secret models Eniko Mihalik (left) and Barbara Fialho (right) wore Jarman’s “Kira” style fairy wings during the 2014 Victoria’s Secret Fashion show. \u003ccite>(Photo: Paul Bayfield courtesy of Timesniper.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarman’s fans don’t just come from the pop culture community. Artists of many kinds gravitate towards her work. “Her talent is undeniable,” says Gregangelo \u003c/span>\u003cspan style=\"font-weight: 400\">Herrera,\u003c/span>\u003cspan style=\"font-weight: 400\"> artistic director of \u003ca href=\"http://gregangelo.com/\" target=\"_blank\" rel=\"noopener\">Velocity Circus\u003c/a>, a circus arts company located in San Francisco. “I’ve created characters for performances based on her wings. She is constantly integrating art and technology and her wings are just one of a kind.”\u003c/span>\u003c/p>\n\u003cp>This month, Jarman is preparing to attend the \u003ca href=\"http://labyrinthmasquerade.com/\" target=\"_blank\" rel=\"noopener\">Labyrinth of Jareth Masquerade Ball\u003c/a> in Los Angeles, where she will debut a set of moving wings that will flutter back and forth. Until now, Jarman has only been able to perfect a set of wings that light up using LED-colored lights. But after several months of experimenting, Jarman says she is able to successfully pull off her first set of flutter-capable wings. Jarman did the astethic and design and her boyfriend Jordan Price worked on the majority of the technology and coding.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She plans on putting together an online tutorial to show fairy wing enthusiasts with a technical mindset how to make their own motorized wings. “I always just trying to continue evolving my art and trying to make the most realistic fairy wings as possible,” Jarman says. “Even though fairy wings are just something we imagine.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: The Russians are Coming, Speaking to Angels, and Pottermania",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/07/TDL20160722.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=vDIPDVw7tTU\u003c/p>\n\u003cp>\u003cstrong>July 22, Aug. 12 & 13\u003c/strong>: Though she’s not as big as the fictional Harry Potter, \u003ca href=\"http://gracepotter.com/\" target=\"_blank\" rel=\"noopener\">Grace Potter \u003c/a> deserves some of the same mania the boy wizard gets for the way she and her band the Nocturnals have made roots-rock both polished and loose enough to be commercial as well as really good. She’s touring now with some of her old band mates, behind \u003cem>Midnight\u003c/em>, her new solo album made with help from producer Eric Valentine. She says she wants her new work to show “growth and change and experimentation.” But it’s her musicianship (watch her play guitar and piano in the video above), and her graceful-yet-powerful voice that makes it all work. Potter is doing a trio of Northern California and Nevada shows at some pretty slick venues: Look for details for her concert at Somo Village \u003ca href=\"http://www.somoconcerts.com/upcoming\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, at the Crystal Bay Club \u003ca href=\"http://devildogshows.com/fri-aug-12th-2016-grace-potter-w-tba-after-party-w-the-nightowls-in-the-crystal-bay-club-casino-crown-room-on-sale-june-10th/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and at Mountain Winery \u003ca href=\"http://www.axs.com/events/309139/grace-potter-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3XfvILESXX4\u003c/p>\n\u003cp>\u003cstrong>July 28-31\u003c/strong>: \u003cem>Speak Angels\u003c/em> is a brand new evening-length dance work by \u003ca href=\"http://garrettmoulton.org/\" target=\"_blank\" rel=\"noopener\">Janice Garrett and Charles Moulton\u003c/a> that features 24 dancers, and a troupe of musicians and singers. In past shows, Garrett and Moulton have proved they know how to shape wonderful stories out of these big productions. \u003cem>Speak Angels\u003c/em>, they say, is a dance on the way “sudden, unforeseen moments of illumination” provide guidance and support at key moments of our lives. Details are \u003ca href=\"https://www.ybca.org/whats-on/speak-angels\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hAH7JImhmBw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Continuing through Aug. 6\u003c/strong>: \u003ca href=\"http://www.musicatmenlo.org/\" target=\"_blank\" rel=\"noopener\">Music at Menlo\u003c/a> is a Bay Area treasure and a reminder that some of the best Classical and modern music is written not for orchestra, but for small ensembles. This year, co-Founders and artistic directors Wu Han (piano) and David Finckel (cello) are presenting a feast of Russian composers from Rachmaninoff and Mussorgski to Shostakovich and Prokofiev with performances by the \u003ca href=\"http://calidorestringquartet.com/\" target=\"_blank\" rel=\"noopener\">Calidore String Quartet\u003c/a>, Matthew Lipman, Alexander Sitkovetsky, Gloria Chien and more, plus master classes. Best of all, the concerts are in small rooms perfect for the intimacy of chamber music. Details \u003ca href=\"http://www.musicatmenlo.org/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rjz8vVH6xVU\u003c/p>\n\u003cp>\u003cstrong>Aug. 26-27\u003c/strong>: Woodsist is a little festival in the Redwoods with a big lineup and now in its 7th year on the Big Sur coast. It’s a celebration of psych folk and indie with Jonathan Richman, Steve Gunn, White Fence, Jessica Pratt, Michael Hurley, Kevin Morby, Cian Nugent, Little Wings, and more in a setting that can’t be beat. Details \u003ca href=\"http://www.woodsist.com/catalog/available/woodsist-festival-2016-big-sur-2/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11841606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11841606 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-800x475.jpg\" alt=\"'The Gathering' by Arje Shaw features left to right- Kahlil Leneus, Tracy Camp, Edward Nattenberg, and Arje Shaw\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-1180x700.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-1920x1139.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-960x569.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Gathering’ by Arje Shaw features left to right- Kahlil Leneus, Tracy Camp, Edward Nattenberg, and Arje Shaw \u003ccite>(Photo: David Allen Studio/Live Oak Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 22-Aug. 20\u003c/strong>: \u003ca href=\"http://www.liveoaktheater.org/\" target=\"_blank\" rel=\"noopener\">Berkeley’s Live Oak Theater\u003c/a> is reviving \u003cem>The Gathering\u003c/em> by Arje Shaw, a show about an American family wrestling with the legacy of the Holocaust. Dad is a speechwriter for President Reagan in 1985, just as the Gipper is about to visit Bitberg Cemetery, where SS soldiers are buried. Grandpa is a holocaust survivor who insists his son stop this travesty of history. And between them is the grandson, who the grandfather drags off to Germany in protest. The prolific and terrific \u003ca href=\"http://www.mercurynews.com/entertainment/ci_29618942/theater-profile-invincible-joy-carlin\" target=\"_blank\" rel=\"noopener\">Joy Carlin\u003c/a> directs and in a very-Berkeley update, the Jewish family is bi-racial. Shaw himself plays the grandpa, and actor Kahlil Leneus plays the grandson, a role originated by a young Jesse Eisenberg in 1999. Details \u003ca href=\"http://www.liveoaktheater.org/event/c9ab7dee2e6d9eeef1422cfe4d447de5\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through July 31\u003c/strong>: You have one more week to catch one of the best plays of the year, August Wilson’s \u003cem>Fences\u003c/em> at Cal Shakes. Aldo Billingslea and Margo Hall lead a terrific cast in this show, directed by Raelle Myrick-Hodges, about a garbage truck driver and his family in Pittsburgh (PA) in the 1950’s. Details \u003ca href=\"http://www.calshakes.org/v4/ourplays/2016/2016_fences.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g_gPdGgbrNg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 22 – July 24\u003c/strong>: The J-Pop Summit is a balanced diet of Japanese popular culture, celebrating the country’s music (including Wednesday Campanella, who’s in the video above), anime, manga, Japanese film, plus a Sake tasting, a ramen noodle summit, fashion and cosplay show, and this year will include the festival’s first ever drag contest. The festival outgrew its old home in S.F.’s Japantown, and now is at Fort Mason. Mika Anami is one of the organizers. “It’s a totally different culture,” she told me, “even though there’s a lot that we see in common. So we want to intrigue people enough that one day they eventually decide they want to go visit Japan.” Hope they’re paying for the ticket. Details \u003ca href=\"http://www.j-pop.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/07/TDL20160722.mp3\u003cbr>\n\u003c/p>\u003c/aside>\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/vDIPDVw7tTU'\n title='//www.youtube.com/embed/vDIPDVw7tTU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 22, Aug. 12 & 13\u003c/strong>: Though she’s not as big as the fictional Harry Potter, \u003ca href=\"http://gracepotter.com/\" target=\"_blank\" rel=\"noopener\">Grace Potter \u003c/a> deserves some of the same mania the boy wizard gets for the way she and her band the Nocturnals have made roots-rock both polished and loose enough to be commercial as well as really good. She’s touring now with some of her old band mates, behind \u003cem>Midnight\u003c/em>, her new solo album made with help from producer Eric Valentine. She says she wants her new work to show “growth and change and experimentation.” But it’s her musicianship (watch her play guitar and piano in the video above), and her graceful-yet-powerful voice that makes it all work. Potter is doing a trio of Northern California and Nevada shows at some pretty slick venues: Look for details for her concert at Somo Village \u003ca href=\"http://www.somoconcerts.com/upcoming\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, at the Crystal Bay Club \u003ca href=\"http://devildogshows.com/fri-aug-12th-2016-grace-potter-w-tba-after-party-w-the-nightowls-in-the-crystal-bay-club-casino-crown-room-on-sale-june-10th/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and at Mountain Winery \u003ca href=\"http://www.axs.com/events/309139/grace-potter-tickets?skin=mountainwinery\" 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/3XfvILESXX4'\n title='//www.youtube.com/embed/3XfvILESXX4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 28-31\u003c/strong>: \u003cem>Speak Angels\u003c/em> is a brand new evening-length dance work by \u003ca href=\"http://garrettmoulton.org/\" target=\"_blank\" rel=\"noopener\">Janice Garrett and Charles Moulton\u003c/a> that features 24 dancers, and a troupe of musicians and singers. In past shows, Garrett and Moulton have proved they know how to shape wonderful stories out of these big productions. \u003cem>Speak Angels\u003c/em>, they say, is a dance on the way “sudden, unforeseen moments of illumination” provide guidance and support at key moments of our lives. Details are \u003ca href=\"https://www.ybca.org/whats-on/speak-angels\" 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/hAH7JImhmBw'\n title='//www.youtube.com/embed/hAH7JImhmBw'\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>Continuing through Aug. 6\u003c/strong>: \u003ca href=\"http://www.musicatmenlo.org/\" target=\"_blank\" rel=\"noopener\">Music at Menlo\u003c/a> is a Bay Area treasure and a reminder that some of the best Classical and modern music is written not for orchestra, but for small ensembles. This year, co-Founders and artistic directors Wu Han (piano) and David Finckel (cello) are presenting a feast of Russian composers from Rachmaninoff and Mussorgski to Shostakovich and Prokofiev with performances by the \u003ca href=\"http://calidorestringquartet.com/\" target=\"_blank\" rel=\"noopener\">Calidore String Quartet\u003c/a>, Matthew Lipman, Alexander Sitkovetsky, Gloria Chien and more, plus master classes. Best of all, the concerts are in small rooms perfect for the intimacy of chamber music. Details \u003ca href=\"http://www.musicatmenlo.org/calendar/\" 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/rjz8vVH6xVU'\n title='//www.youtube.com/embed/rjz8vVH6xVU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 26-27\u003c/strong>: Woodsist is a little festival in the Redwoods with a big lineup and now in its 7th year on the Big Sur coast. It’s a celebration of psych folk and indie with Jonathan Richman, Steve Gunn, White Fence, Jessica Pratt, Michael Hurley, Kevin Morby, Cian Nugent, Little Wings, and more in a setting that can’t be beat. Details \u003ca href=\"http://www.woodsist.com/catalog/available/woodsist-festival-2016-big-sur-2/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11841606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11841606 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-800x475.jpg\" alt=\"'The Gathering' by Arje Shaw features left to right- Kahlil Leneus, Tracy Camp, Edward Nattenberg, and Arje Shaw\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-1180x700.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-1920x1139.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-960x569.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Gathering’ by Arje Shaw features left to right- Kahlil Leneus, Tracy Camp, Edward Nattenberg, and Arje Shaw \u003ccite>(Photo: David Allen Studio/Live Oak Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 22-Aug. 20\u003c/strong>: \u003ca href=\"http://www.liveoaktheater.org/\" target=\"_blank\" rel=\"noopener\">Berkeley’s Live Oak Theater\u003c/a> is reviving \u003cem>The Gathering\u003c/em> by Arje Shaw, a show about an American family wrestling with the legacy of the Holocaust. Dad is a speechwriter for President Reagan in 1985, just as the Gipper is about to visit Bitberg Cemetery, where SS soldiers are buried. Grandpa is a holocaust survivor who insists his son stop this travesty of history. And between them is the grandson, who the grandfather drags off to Germany in protest. The prolific and terrific \u003ca href=\"http://www.mercurynews.com/entertainment/ci_29618942/theater-profile-invincible-joy-carlin\" target=\"_blank\" rel=\"noopener\">Joy Carlin\u003c/a> directs and in a very-Berkeley update, the Jewish family is bi-racial. Shaw himself plays the grandpa, and actor Kahlil Leneus plays the grandson, a role originated by a young Jesse Eisenberg in 1999. Details \u003ca href=\"http://www.liveoaktheater.org/event/c9ab7dee2e6d9eeef1422cfe4d447de5\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through July 31\u003c/strong>: You have one more week to catch one of the best plays of the year, August Wilson’s \u003cem>Fences\u003c/em> at Cal Shakes. Aldo Billingslea and Margo Hall lead a terrific cast in this show, directed by Raelle Myrick-Hodges, about a garbage truck driver and his family in Pittsburgh (PA) in the 1950’s. Details \u003ca href=\"http://www.calshakes.org/v4/ourplays/2016/2016_fences.html\" 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/g_gPdGgbrNg'\n title='//www.youtube.com/embed/g_gPdGgbrNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 22 – July 24\u003c/strong>: The J-Pop Summit is a balanced diet of Japanese popular culture, celebrating the country’s music (including Wednesday Campanella, who’s in the video above), anime, manga, Japanese film, plus a Sake tasting, a ramen noodle summit, fashion and cosplay show, and this year will include the festival’s first ever drag contest. The festival outgrew its old home in S.F.’s Japantown, and now is at Fort Mason. Mika Anami is one of the organizers. “It’s a totally different culture,” she told me, “even though there’s a lot that we see in common. So we want to intrigue people enough that one day they eventually decide they want to go visit Japan.” Hope they’re paying for the ticket. Details \u003ca href=\"http://www.j-pop.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Oakland high school student Zachary Fernandez made it to the finals on the first season of Project Runway Junior, then headed straight back to Oakland School of the Arts to continue his education as a designer. His newest collection, Kathmandu, was inspired by recovery efforts in Nepal after the devastating 2015 earthquake. Art School followed Fernandez's process as he sketched, sourced fabric, and designed his new project, revealed at a culminating fashion show in spring 2016.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Zachary Fernandez, designing is an art form and a way to communicate his ideas. He considers how his intentions for a new collection will translate to his audience, and pays attention to his process and evolution, which helps him grow professionally. Though he just finished his junior year of high school, Fernandez is a rising fashion star thanks to his dedication and the support of mentors, family, and teachers.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> Follow Zachary here: \u003c/span>\u003ca href=\"http://www.zacharyfernandez.com/\">\u003cspan style=\"font-weight: 400\">http://www.zacharyfernandez.com/\u003c/span>\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The San Francisco Unified School District announced last week it hired Donn Harris, currently director of the Oakland School of the Arts (OSA), to be its new executive director of art programs. \u003c/p>\n\u003cp>Harris, who is on the \u003ca href=\"http://www.cac.ca.gov/news/prdetail.php?id=161\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a>, was the director of the Ruth Asawa School of the Arts (now Asawa SOTA) for seven years before he was asked to be the OSA director in 2013 by then Oakland Mayor Jerry Brown. \u003c/p>\n\u003cp>Starting July 1, he will be the district’s Executive Director for Creativity and The Arts, and he’ll be tasked with ensuring equity and access to arts programs, as well as leading the development of the district’s $300 million arts center project.\u003c/p>\n\u003cfigure id=\"attachment_11620432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-800x450.jpg\" alt=\"A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11620432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA \u003ccite>(Graphic: Courtesy of SFUSD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco has invested in arts education to a degree unseen elsewhere in the nation. Creativity is clearly a core value of our city, and we have work ahead to infuse that spirit into the daily life of our schools: examining contemporary art forms that reflect students’ cultures and interests, and studying our arts ecosystem to determine how best to give students equal access to the art forms that inspire them,” Harris said in a \u003ca href=\"http://www.sfusd.edu/en/news/current-news/2016-news-archive/05/sfusd-hires-new-executive-director-for-creativity-and-the-arts.html\" target=\"_blank\" rel=\"noopener\">SFUSD press release\u003c/a>.\u003c/p>\n\u003cp>Managing the creation of the Arts Center over the next few years — a timetable for its construction has yet to be determined — will be a huge undertaking for Harris. The project, which was approved back in 2014, and will take over almost an entire city block and house both the Asawa SOTA and the Nourse Theater, still needs to raise much of its construction budget, which the district will do through an upcoming ballot measure and private donors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Unified School District announced last week it hired Donn Harris, currently director of the Oakland School of the Arts (OSA), to be its new executive director of art programs. \u003c/p>\n\u003cp>Harris, who is on the \u003ca href=\"http://www.cac.ca.gov/news/prdetail.php?id=161\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a>, was the director of the Ruth Asawa School of the Arts (now Asawa SOTA) for seven years before he was asked to be the OSA director in 2013 by then Oakland Mayor Jerry Brown. \u003c/p>\n\u003cp>Starting July 1, he will be the district’s Executive Director for Creativity and The Arts, and he’ll be tasked with ensuring equity and access to arts programs, as well as leading the development of the district’s $300 million arts center project.\u003c/p>\n\u003cfigure id=\"attachment_11620432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-800x450.jpg\" alt=\"A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11620432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sota-board-presentation_2014-01-07-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A proposed concept design for the SFUSD Arts Center, which will house the Nourse Theater and the Asawa SOTA \u003ccite>(Graphic: Courtesy of SFUSD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco has invested in arts education to a degree unseen elsewhere in the nation. Creativity is clearly a core value of our city, and we have work ahead to infuse that spirit into the daily life of our schools: examining contemporary art forms that reflect students’ cultures and interests, and studying our arts ecosystem to determine how best to give students equal access to the art forms that inspire them,” Harris said in a \u003ca href=\"http://www.sfusd.edu/en/news/current-news/2016-news-archive/05/sfusd-hires-new-executive-director-for-creativity-and-the-arts.html\" target=\"_blank\" rel=\"noopener\">SFUSD press release\u003c/a>.\u003c/p>\n\u003cp>Managing the creation of the Arts Center over the next few years — a timetable for its construction has yet to be determined — will be a huge undertaking for Harris. The project, which was approved back in 2014, and will take over almost an entire city block and house both the Asawa SOTA and the Nourse Theater, still needs to raise much of its construction budget, which the district will do through an upcoming ballot measure and private donors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Opening the door to \u003ca href=\"http://www.moadsf.org/exhibition/the-grace-jones-project/\">\u003ci>The Grace Jones Project\u003c/i>\u003c/a> at the Museum of the Africa Diaspora is like entering the shrine of a living goddess.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11532358\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/GraceJones-short.gif\" alt=\"GraceJones-short\" width=\"338\" height=\"519\">In the center of the gallery two display walls separate the space, drawing a line through the exhibit. On one side of the line, the artist represented is Jones herself. Thirty-two evenly arranged Grace Jones records are divided and mounted on black backgrounds. The singer, actress and model features prominently on almost every album cover. Her aura, and her shifting series of identities, dominate the room. The effect is that of a pop star’s power to dazzle.\u003c/p>\n\u003cp>A reel of Jones’ music videos loops alongside the wall of albums. The projected images shriek with the 1980s MTV era of self-conscious experimentalism. Jones and her collaborators capitalized on the fact that the camera loved to look at her. But she knew how to look back. Jones stared down the male gaze and smashed it to bits. Sunglasses, costumes, hats, cowls, even her makeup were all parts of the armory, to be removed only at her behest.\u003c/p>\n\u003cp>The other side of gallery space contends with her enduring cultural influence and its impact on musicians and artists, pop and otherwise. Harold Offeh, a London-based performance and video artist, filmed a live action version of himself attempting the famous arabesque pose from the cover of Jones’ 1985 album \u003ci>Island Life\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_11532356\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11532356\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200.jpg\" alt=\"Harold Offeh, Still from 'Arabesque, Covers: Arabesque, After Grace Jones, 1978,' 2008-2009.\" width=\"1000\" height=\"658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200-960x632.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Harold Offeh, Still from ‘Arabesque, Covers: Arabesque, After Grace Jones, 1978,’ 2008-2009. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike Jones, Offeh is nude as he stands with his limbs outstretched (Jones’ body is selectively wrapped: an ankle, a wrist, her breasts). His round stomach lacks her body’s sculptural ideal, and he’s all the more human for it. After holding something like her pose for a minute, he loses his balance, utters a sigh, and the film begins again. It’s a witty piece that exposes the album cover for what it is: a cut and paste technique — a pre-Photoshop illusion — by the photographer Jean-Paul Goude.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a deliberate omission, Goude is not represented in \u003ci>The Grace Jones Project\u003c/i>. He may not have been the sole decision maker of her aesthetic sensibility, but while they were a couple he was responsible for much of it. Goude photographed and designed her album covers and directed many of her first music videos.\u003c/p>\n\u003cfigure id=\"attachment_11530665\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11530665\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/5.-Gaskin-Backstage-at-the-Evisu-Ball-Manhattan.jpg\" alt=\"Gerard Gaskin, 'Backstage at the Evisu Ball, Manhattan,' 2010. \" width=\"480\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/5.-Gaskin-Backstage-at-the-Evisu-Ball-Manhattan.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/5.-Gaskin-Backstage-at-the-Evisu-Ball-Manhattan-400x600.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Gerard Gaskin, ‘Backstage at the Evisu Ball, Manhattan,’ 2010. \u003ccite>(Courtesy of the artist.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His 1982 book of photography, \u003ci>Jungle Fever\u003c/i>, features a notorious image of Jones naked and caged. Goude, a white man, revels in the need for art to shock for the sake of attention. His “Break the Internet” photographs with Kim Kardashian for the November 2014 issue of \u003ci>PAPER\u003c/i> magazine were no exception.\u003c/p>\n\u003cp>This outré aspect of their work together brings this question to mind: In what context has the art of Grace Jones actively retained its influence?\u003c/p>\n\u003cp>The collection of vinyl on display at MoAD belongs to the exhibit’s curator Nicole Caruth, but \u003ci>The Grace Jones Project\u003c/i> is not simply the tribute project of an ardent fan. When Caruth first saw the video for “La Vie en rose,” Jones, tangling with an accordion, was for her a figure of female and Black empowerment (Jones moved from Jamaica to New York as a teenager).\u003c/p>\n\u003cp>Many of the installations on display contend with and embrace Jones’ projection of Black strength. Photo shoots like the one she did for \u003ci>Playboy\u003c/i> in 1985, with her then-boyfriend Dolph Lundgren, reinforced the mythology of her physical perfection.\u003c/p>\n\u003cfigure id=\"attachment_11532354\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11532354\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200.jpg\" alt=\"Rashayla Marie Brown, 'The Island Pose from the Black Betty series,' 2013.\" width=\"1200\" height=\"795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-960x636.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rashayla Marie Brown, ‘The Island Pose from the Black Betty series,’ 2013. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But her oeuvre largely resides within the realms of pop culture, where attention-getting is the end game. It’s easy to see where Rihanna, Lady Gaga and Nicki Minaj often draw visual inspiration, sometimes borrowing directly from Jones’ wardrobe. But it’s difficult to compete with the lasting impression made by a suit made of meat.\u003c/p>\n\u003cp>Heather Hart’s mixed media collage \u003ci>Jumeaux\u003c/i> (twins) claims Grace Jones as more than mere pop artifact. Hart says, “In pop culture we found her in chains, in cages, with raw meat, put into the position of the savage animal. But because of her command, because she was tall, because she was androgynous, because she had power in her own gaze, somehow I didn’t doubt her agency as a subject.”\u003c/p>\n\u003cfigure id=\"attachment_11532357\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11532357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200.jpg\" alt=\"Gerard Gaskin, 'Baby (painted black) at the Tony, Andrea, and Eric Ball, Brooklyn, NY,' 2000.\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200-960x640.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Gerard Gaskin, ‘Baby (painted black) at the Tony, Andrea, and Eric Ball, Brooklyn, NY,’ 2000. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two images of Jones nest inside a circle of light in Hart’s collage. The viewer is instructed “to press one piece of gold leaf” into this space on the canvas. For Hart, this action is meant to refute the idea that Jones was just a puppet in Goude’s hands.\u003c/p>\n\u003cp>Hart’s collage, and the diverse range of other contributions in \u003cem>The Grace Jones Project\u003c/em> make a convincing argument for Jones’ status as an icon of Black female empowerment, and as a seminal figure in the landscape of pop culture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>The Grace Jones Project\u003c/b> is on view through Sept. 18 at the Museum of the African Diaspora in San Francisco. For tickets and more information visit \u003ca href=\"http://www.moadsf.org/exhibition/the-grace-jones-project/\" target=\"_blank\" rel=\"noopener\">moadsf.org\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A group show at MoAD brings together generations of artists influenced by and paying homage to model, actress, and singer Grace Jones.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opening the door to \u003ca href=\"http://www.moadsf.org/exhibition/the-grace-jones-project/\">\u003ci>The Grace Jones Project\u003c/i>\u003c/a> at the Museum of the Africa Diaspora is like entering the shrine of a living goddess.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11532358\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/GraceJones-short.gif\" alt=\"GraceJones-short\" width=\"338\" height=\"519\">In the center of the gallery two display walls separate the space, drawing a line through the exhibit. On one side of the line, the artist represented is Jones herself. Thirty-two evenly arranged Grace Jones records are divided and mounted on black backgrounds. The singer, actress and model features prominently on almost every album cover. Her aura, and her shifting series of identities, dominate the room. The effect is that of a pop star’s power to dazzle.\u003c/p>\n\u003cp>A reel of Jones’ music videos loops alongside the wall of albums. The projected images shriek with the 1980s MTV era of self-conscious experimentalism. Jones and her collaborators capitalized on the fact that the camera loved to look at her. But she knew how to look back. Jones stared down the male gaze and smashed it to bits. Sunglasses, costumes, hats, cowls, even her makeup were all parts of the armory, to be removed only at her behest.\u003c/p>\n\u003cp>The other side of gallery space contends with her enduring cultural influence and its impact on musicians and artists, pop and otherwise. Harold Offeh, a London-based performance and video artist, filmed a live action version of himself attempting the famous arabesque pose from the cover of Jones’ 1985 album \u003ci>Island Life\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_11532356\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11532356\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200.jpg\" alt=\"Harold Offeh, Still from 'Arabesque, Covers: Arabesque, After Grace Jones, 1978,' 2008-2009.\" width=\"1000\" height=\"658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009_1200-960x632.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Harold Offeh, Still from ‘Arabesque, Covers: Arabesque, After Grace Jones, 1978,’ 2008-2009. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike Jones, Offeh is nude as he stands with his limbs outstretched (Jones’ body is selectively wrapped: an ankle, a wrist, her breasts). His round stomach lacks her body’s sculptural ideal, and he’s all the more human for it. After holding something like her pose for a minute, he loses his balance, utters a sigh, and the film begins again. It’s a witty piece that exposes the album cover for what it is: a cut and paste technique — a pre-Photoshop illusion — by the photographer Jean-Paul Goude.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a deliberate omission, Goude is not represented in \u003ci>The Grace Jones Project\u003c/i>. He may not have been the sole decision maker of her aesthetic sensibility, but while they were a couple he was responsible for much of it. Goude photographed and designed her album covers and directed many of her first music videos.\u003c/p>\n\u003cfigure id=\"attachment_11530665\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11530665\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/5.-Gaskin-Backstage-at-the-Evisu-Ball-Manhattan.jpg\" alt=\"Gerard Gaskin, 'Backstage at the Evisu Ball, Manhattan,' 2010. \" width=\"480\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/5.-Gaskin-Backstage-at-the-Evisu-Ball-Manhattan.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/5.-Gaskin-Backstage-at-the-Evisu-Ball-Manhattan-400x600.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Gerard Gaskin, ‘Backstage at the Evisu Ball, Manhattan,’ 2010. \u003ccite>(Courtesy of the artist.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His 1982 book of photography, \u003ci>Jungle Fever\u003c/i>, features a notorious image of Jones naked and caged. Goude, a white man, revels in the need for art to shock for the sake of attention. His “Break the Internet” photographs with Kim Kardashian for the November 2014 issue of \u003ci>PAPER\u003c/i> magazine were no exception.\u003c/p>\n\u003cp>This outré aspect of their work together brings this question to mind: In what context has the art of Grace Jones actively retained its influence?\u003c/p>\n\u003cp>The collection of vinyl on display at MoAD belongs to the exhibit’s curator Nicole Caruth, but \u003ci>The Grace Jones Project\u003c/i> is not simply the tribute project of an ardent fan. When Caruth first saw the video for “La Vie en rose,” Jones, tangling with an accordion, was for her a figure of female and Black empowerment (Jones moved from Jamaica to New York as a teenager).\u003c/p>\n\u003cp>Many of the installations on display contend with and embrace Jones’ projection of Black strength. Photo shoots like the one she did for \u003ci>Playboy\u003c/i> in 1985, with her then-boyfriend Dolph Lundgren, reinforced the mythology of her physical perfection.\u003c/p>\n\u003cfigure id=\"attachment_11532354\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11532354\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200.jpg\" alt=\"Rashayla Marie Brown, 'The Island Pose from the Black Betty series,' 2013.\" width=\"1200\" height=\"795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1.-Rashayla-Marie-Brown-The-Island-Pose-from-the-Black-Betty-series-2013_1200-960x636.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rashayla Marie Brown, ‘The Island Pose from the Black Betty series,’ 2013. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But her oeuvre largely resides within the realms of pop culture, where attention-getting is the end game. It’s easy to see where Rihanna, Lady Gaga and Nicki Minaj often draw visual inspiration, sometimes borrowing directly from Jones’ wardrobe. But it’s difficult to compete with the lasting impression made by a suit made of meat.\u003c/p>\n\u003cp>Heather Hart’s mixed media collage \u003ci>Jumeaux\u003c/i> (twins) claims Grace Jones as more than mere pop artifact. Hart says, “In pop culture we found her in chains, in cages, with raw meat, put into the position of the savage animal. But because of her command, because she was tall, because she was androgynous, because she had power in her own gaze, somehow I didn’t doubt her agency as a subject.”\u003c/p>\n\u003cfigure id=\"attachment_11532357\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11532357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200.jpg\" alt=\"Gerard Gaskin, 'Baby (painted black) at the Tony, Andrea, and Eric Ball, Brooklyn, NY,' 2000.\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/4.-Gaskin-painted-black-at-the-Tony-Andrea-and-Eric-Ball-Brooklyn-NY_1200-960x640.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Gerard Gaskin, ‘Baby (painted black) at the Tony, Andrea, and Eric Ball, Brooklyn, NY,’ 2000. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two images of Jones nest inside a circle of light in Hart’s collage. The viewer is instructed “to press one piece of gold leaf” into this space on the canvas. For Hart, this action is meant to refute the idea that Jones was just a puppet in Goude’s hands.\u003c/p>\n\u003cp>Hart’s collage, and the diverse range of other contributions in \u003cem>The Grace Jones Project\u003c/em> make a convincing argument for Jones’ status as an icon of Black female empowerment, and as a seminal figure in the landscape of pop culture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cb>The Grace Jones Project\u003c/b> is on view through Sept. 18 at the Museum of the African Diaspora in San Francisco. For tickets and more information visit \u003ca href=\"http://www.moadsf.org/exhibition/the-grace-jones-project/\" target=\"_blank\" rel=\"noopener\">moadsf.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the most tantalizing films I’ve ever seen is \u003cem>The Swimmer\u003c/em>, a surreal masterpiece from 1968 based on a John Cheever short story. It stars a middle-aged but still very buff and tan Burt Lancaster as a man who impulsively decides to swim home from a suburban summer garden party at a friend’s house by traversing all the many pools that lie between other people’s backyards and his own. As the afternoon unfolds, the bright, jovial atmosphere becomes broodingly autumnal, until our hero, exhausted in his Speedos after a series of unfortunate encounters and mishaps, finally arrives at his empty, derelict home.\u003c/p>\n\u003cp>Cheever’s chilly narrative, reimagined as a 41-minute ballet by company stalwart Yuri Possokhov, is the centerpiece of \u003cem>\u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">Sensorium\u003c/a>\u003c/em>, a splashy soiree of dance, music, food and booze organized by the San Francisco Ballet (SF Ballet) as a way to reel the millennial crowd into the War Memorial Opera House. The event did well last year, so it’s back again for a second iteration on Wednesday, Mar. 23.\u003c/p>\n\u003cfigure id=\"attachment_11428906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11428906\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg\" alt=\"Guests at SF Ballet's first Sensorium event in 2015\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1920x1262.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-960x631.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guests at SF Ballet’s first Sensorium event in 2015 \u003ccite>(Photo Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The choice of Possokhov’s \u003cem>Swimmer\u003c/em> for this event makes sense: Of all the pieces in SF Ballet’s recent history, it’s likely to be one of the most impressive to a young, tech-savvy crowd. Waves of Tom Waits music and immersive video depicting mid-century scenes of suburban Americana sweep the dance along.\u003c/p>\n\u003cp>Beyond the proscenium, \u003cem>Sensorium\u003c/em> gives audiences the chance to experience various pop-up events. These aren’t the usual thing. There’s a pair of massive 30-foot-long crashing wave video projections, inspired by \u003cem>Swimmer, \u003c/em>that you can actually walk through because the video is projected onto “theatrical string” like a 70s-style beaded curtain.\u003c/p>\n\u003cp>And the art-tech company \u003ca href=\"http://teleportlabs.com/\" target=\"_blank\" rel=\"noopener\">Teleport Labs\u003c/a> has created a virtual reality film piece based on a snippets of a rehearsal of \u003cem>Pas/Parts\u003c/em> — that’s the other ballet on the evening’s performance program choreographed by William Forsythe — that apparently can be experienced without those goofy-looking glasses and helmets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also, fashion designer Lan Jaenicke is setting up a “mini-atelier” in the lobby of the opera house where she and her team plan to create instant couture gowns tailor-made for a few lucky audience members…out of bed sheets.\u003c/p>\n\u003cp>But here’s what I’m personally most excited about: Professionals from the company are joining audience members on the dance floor after the main performance. After all, it’s not every day you get to boogie on down with ballet stars like Yuan Yuan Tan and Mathilde Froustey.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Ballet presents \u003cem>Sensorium\u003c/em> on Wednesday, Mar. 23 at the War Memorial Opera House in San Francisco. Head \u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. \u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the most tantalizing films I’ve ever seen is \u003cem>The Swimmer\u003c/em>, a surreal masterpiece from 1968 based on a John Cheever short story. It stars a middle-aged but still very buff and tan Burt Lancaster as a man who impulsively decides to swim home from a suburban summer garden party at a friend’s house by traversing all the many pools that lie between other people’s backyards and his own. As the afternoon unfolds, the bright, jovial atmosphere becomes broodingly autumnal, until our hero, exhausted in his Speedos after a series of unfortunate encounters and mishaps, finally arrives at his empty, derelict home.\u003c/p>\n\u003cp>Cheever’s chilly narrative, reimagined as a 41-minute ballet by company stalwart Yuri Possokhov, is the centerpiece of \u003cem>\u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">Sensorium\u003c/a>\u003c/em>, a splashy soiree of dance, music, food and booze organized by the San Francisco Ballet (SF Ballet) as a way to reel the millennial crowd into the War Memorial Opera House. The event did well last year, so it’s back again for a second iteration on Wednesday, Mar. 23.\u003c/p>\n\u003cfigure id=\"attachment_11428906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11428906\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg\" alt=\"Guests at SF Ballet's first Sensorium event in 2015\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1920x1262.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-960x631.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guests at SF Ballet’s first Sensorium event in 2015 \u003ccite>(Photo Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The choice of Possokhov’s \u003cem>Swimmer\u003c/em> for this event makes sense: Of all the pieces in SF Ballet’s recent history, it’s likely to be one of the most impressive to a young, tech-savvy crowd. Waves of Tom Waits music and immersive video depicting mid-century scenes of suburban Americana sweep the dance along.\u003c/p>\n\u003cp>Beyond the proscenium, \u003cem>Sensorium\u003c/em> gives audiences the chance to experience various pop-up events. These aren’t the usual thing. There’s a pair of massive 30-foot-long crashing wave video projections, inspired by \u003cem>Swimmer, \u003c/em>that you can actually walk through because the video is projected onto “theatrical string” like a 70s-style beaded curtain.\u003c/p>\n\u003cp>And the art-tech company \u003ca href=\"http://teleportlabs.com/\" target=\"_blank\" rel=\"noopener\">Teleport Labs\u003c/a> has created a virtual reality film piece based on a snippets of a rehearsal of \u003cem>Pas/Parts\u003c/em> — that’s the other ballet on the evening’s performance program choreographed by William Forsythe — that apparently can be experienced without those goofy-looking glasses and helmets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also, fashion designer Lan Jaenicke is setting up a “mini-atelier” in the lobby of the opera house where she and her team plan to create instant couture gowns tailor-made for a few lucky audience members…out of bed sheets.\u003c/p>\n\u003cp>But here’s what I’m personally most excited about: Professionals from the company are joining audience members on the dance floor after the main performance. After all, it’s not every day you get to boogie on down with ballet stars like Yuan Yuan Tan and Mathilde Froustey.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Ballet presents \u003cem>Sensorium\u003c/em> on Wednesday, Mar. 23 at the War Memorial Opera House in San Francisco. Head \u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Will the Berkeley Flea Market Survive a Changing Neighborhood?",
"title": "Will the Berkeley Flea Market Survive a Changing Neighborhood?",
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"content": "\u003cp>You can hear the rumble of a drum circle from more than a block away, and it grows louder and louder as you approach Berkeley's Ashby BART Station. Every Saturday and Sunday -- except when it rains -- a freewheeling jam session brings together drummers and other musicians in the BART parking lot.\u003c/p>\n\u003cp>Guy Fuerte, who's been banging on his Cajon -- a large rectangular drum -- says he's been coming to play here for 20 years, and it's kept him from \"making bad decisions.\"\u003c/p>\n\u003cp>\"It just gave me a place to come to express myself freely,” says Fuerte, who is now friends with many other musicians who come to play. “I was intimidated by the playing, by the music. I didn’t know how it all came together. I didn’t know how to use my hands to create such rhythms, but they invited me into it and showed me how ... they were patient with me.\"\u003c/p>\n\u003cfigure id=\"attachment_10888778\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10888778 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/circle-dancer-from-above-1-400x225.jpg\" alt=\"The drum circle is an integral part of the flea market's culture\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The drum circle is an integral part of the flea market's culture. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This drum circle is part of the \u003ca href=\"http://www.berkeleyfleamarket.com/\" target=\"_blank\">Berkeley Flea Market\u003c/a>, which has served as a gathering place for African-Americans and other local residents for decades. Now the city of Berkeley is planning improvements to the surrounding neighborhood, and many are concerned that will contribute to more displacement of longtime residents — and of this well-loved market.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/252024798?secret_token=s-KFtwH\" 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>Walking the aisles, you can find everything from handmade soaps to used electronics and classic comic books. But one thing is impossible to miss: booths full of items celebrating or exploring black culture. At Pamela Jackson's booth you can find what she calls \"slave documents, mammy/pappy cookie jars, all that racist memorabilia.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I sell history, is what I sell,\" explains Jackson, who's been a vendor for five years. She's been coming to shop here since the Ashby BART Station opened in 1973.\u003c/p>\n\u003cfigure id=\"attachment_10854611\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10854611 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/black-history-photos-qut-400x225.jpg\" alt=\"Many vendors sell items commemorating black history\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-1440x811.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Many vendors sell items commemorating black history. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>BART originally didn’t run trains on the weekends, says Errol Davis, with Community Services United, a nonprofit group that sponsors the market. “The parking lot was empty, so people felt they had the right to go in and set up and sell.”\u003c/p>\n\u003cp>Davis says the market is now a vital community gathering spot and a source of income for vendors.\u003c/p>\n\u003cp>“It’s not just African-American. There’s people out here from India, Tibet, Africa, South America, I mean from all over the world,\" says Davis. \"To wipe it out, they wouldn’t be able to make the extra money it takes to put their kids through Cal or whatever they’re doing with their income from the flea market. It would be gone.”\u003c/p>\n\u003ch4>Planning For The Future\u003c/h4>\n\u003cp>In 2014, Berkeley \u003ca href=\"http://www.mercurynews.com/ci_25899895/berkeley-lands-750-000-adeline-district-revitalization-planning\" target=\"_blank\">received a $750,000 grant\u003c/a> from the Metropolitan Transportation Commission, and designated the \u003ca href=\"http://www.ci.berkeley.ca.us/AdelineCorridor/\" target=\"_blank\">Adeline corridor\u003c/a> a priority development area. The roughly 1-mile commercial strip stretches from the Oakland border to the intersection of Shattuck Avenue and Dwight Way.\u003c/p>\n\u003cp>The MTC money is funding dozens of community meetings to get input on the area's future.\u003c/p>\n\u003cp>“This is the last neighborhood in Berkeley that’s gotten this kind of attention,\" says City Councilman \u003ca href=\"http://www.ci.berkeley.ca.us/council3/\" target=\"_blank\">Max Anderson\u003c/a>, who represents District 3. \"We’ve got Solano, we’ve got Elmwood, we’ve got Shattuck, we’ve got Telegraph, and finally after 40 years, we’re gonna do something about South Berkeley.”\u003c/p>\n\u003cp>Anderson, who lives a block away from Adeline Street, says it used to be the heart of a thriving black neighborhood, before BART built the station and \"demolished that whole Adeline corridor.\"\u003c/p>\n\u003cfigure id=\"attachment_10888781\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-10888781\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/market-BART-logo-and-stairs-400x225.jpg\" alt=\"The flea market takes place every weekend in the Ashby BART station parking lot.\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The flea market takes place every weekend in the Ashby BART station parking lot. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Forty-three homes were eminent-domained and the construction lasted four or five years. And so all of those businesses there that were largely African-American went under ... everything from eating establishments, to funeral homes to you name it,\" says Anderson.\u003c/p>\n\u003cp>\"So here we are in 2016, trying to undo something that happened 40 years ago.”\u003c/p>\n\u003cp>Affordable housing is something that many in this neighborhood would welcome, and that's under consideration. But it may be the very thing that ends up threatening the flea market. Alisa Shen, with Berkeley’s planning department, says the city is \"just trying to solicit ideas\" at this point, but the BART parking lot is one of the few available sites where new housing could be built.\u003c/p>\n\u003cp>\"We've heard the community wants more affordable housing, and typically you look at surface parking lots or vacant lots,” says Shen.\u003c/p>\n\u003ch4>Learning From The Past?\u003c/h4>\n\u003cp>In 2006, a proposal to build residential housing on the Ashby BART parking lot site \u003ca href=\"http://www.berkeleydailyplanet.com/issue/2006-01-20/article/23234?headline=Neighbors-Oppose-Ashby-BART-Project-By-RICHARD-BRENNEMAN&status=301\" target=\"_blank\">was beaten back by neighborhood residents\u003c/a>. But Shen says the city learned its lessons during similar revisioning initiatives for downtown and West Berkeley. Many felt that developers dominated those discussions and local residents were locked out.\u003c/p>\n\u003cp>This time around, the city is conducting a survey of the flea market vendors, and holding dozens of community meetings, where they’re hearing from a lot of skeptics. At a meeting with the Community Services United board of directors and other concerned citizens, \u003ca href=\"http://berkeleycopwatch.org/\" target=\"_blank\">Berkeley Copwatch\u003c/a>'s Andrea Prichett sounded off.\u003c/p>\n\u003cp>“I feel like what’s gonna end up is, you’re gonna be building expensive apartments for people who don’t live here yet, and that the people that do live here are gonna be forced out,\" Prichett told Shen. \"And then you’re gonna be able to say that the flea market was part of the process.\"\u003c/p>\n\u003cp>The market could be relocated onto Adeline Street, which would be closed to traffic in one direction on the weekends.\u003c/p>\n\u003cp>Pamela Jackson is trying to organize her fellow vendors to create their own vision for the future. They recently held their first meeting. Jackson, who was born and raised in San Francisco, says she doesn’t want to see history repeat itself, where neighborhood improvements have ended up displacing black residents.\u003c/p>\n\u003cp>\"My family was very prominent in the \u003ca href=\"http://www.pbs.org/kqed/fillmore/learning/story.html\" target=\"_blank\">Fillmore area\u003c/a> when redevelopment came through there, so that kinda tugs at my heartstrings. To remember what happened in San Francisco to the black community there, and then to hear the same rhetoric 40, 50 years later here in Berkeley now.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The planning department hopes to have a proposal for the Adeline corridor by next year. The City Council will then have the final say.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can hear the rumble of a drum circle from more than a block away, and it grows louder and louder as you approach Berkeley's Ashby BART Station. Every Saturday and Sunday -- except when it rains -- a freewheeling jam session brings together drummers and other musicians in the BART parking lot.\u003c/p>\n\u003cp>Guy Fuerte, who's been banging on his Cajon -- a large rectangular drum -- says he's been coming to play here for 20 years, and it's kept him from \"making bad decisions.\"\u003c/p>\n\u003cp>\"It just gave me a place to come to express myself freely,” says Fuerte, who is now friends with many other musicians who come to play. “I was intimidated by the playing, by the music. I didn’t know how it all came together. I didn’t know how to use my hands to create such rhythms, but they invited me into it and showed me how ... they were patient with me.\"\u003c/p>\n\u003cfigure id=\"attachment_10888778\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10888778 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/circle-dancer-from-above-1-400x225.jpg\" alt=\"The drum circle is an integral part of the flea market's culture\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The drum circle is an integral part of the flea market's culture. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This drum circle is part of the \u003ca href=\"http://www.berkeleyfleamarket.com/\" target=\"_blank\">Berkeley Flea Market\u003c/a>, which has served as a gathering place for African-Americans and other local residents for decades. Now the city of Berkeley is planning improvements to the surrounding neighborhood, and many are concerned that will contribute to more displacement of longtime residents — and of this well-loved market.\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/252024798?secret_token=s-KFtwH&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/252024798?secret_token=s-KFtwH'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Walking the aisles, you can find everything from handmade soaps to used electronics and classic comic books. But one thing is impossible to miss: booths full of items celebrating or exploring black culture. At Pamela Jackson's booth you can find what she calls \"slave documents, mammy/pappy cookie jars, all that racist memorabilia.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I sell history, is what I sell,\" explains Jackson, who's been a vendor for five years. She's been coming to shop here since the Ashby BART Station opened in 1973.\u003c/p>\n\u003cfigure id=\"attachment_10854611\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10854611 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/black-history-photos-qut-400x225.jpg\" alt=\"Many vendors sell items commemorating black history\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-1440x811.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Many vendors sell items commemorating black history. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>BART originally didn’t run trains on the weekends, says Errol Davis, with Community Services United, a nonprofit group that sponsors the market. “The parking lot was empty, so people felt they had the right to go in and set up and sell.”\u003c/p>\n\u003cp>Davis says the market is now a vital community gathering spot and a source of income for vendors.\u003c/p>\n\u003cp>“It’s not just African-American. There’s people out here from India, Tibet, Africa, South America, I mean from all over the world,\" says Davis. \"To wipe it out, they wouldn’t be able to make the extra money it takes to put their kids through Cal or whatever they’re doing with their income from the flea market. It would be gone.”\u003c/p>\n\u003ch4>Planning For The Future\u003c/h4>\n\u003cp>In 2014, Berkeley \u003ca href=\"http://www.mercurynews.com/ci_25899895/berkeley-lands-750-000-adeline-district-revitalization-planning\" target=\"_blank\">received a $750,000 grant\u003c/a> from the Metropolitan Transportation Commission, and designated the \u003ca href=\"http://www.ci.berkeley.ca.us/AdelineCorridor/\" target=\"_blank\">Adeline corridor\u003c/a> a priority development area. The roughly 1-mile commercial strip stretches from the Oakland border to the intersection of Shattuck Avenue and Dwight Way.\u003c/p>\n\u003cp>The MTC money is funding dozens of community meetings to get input on the area's future.\u003c/p>\n\u003cp>“This is the last neighborhood in Berkeley that’s gotten this kind of attention,\" says City Councilman \u003ca href=\"http://www.ci.berkeley.ca.us/council3/\" target=\"_blank\">Max Anderson\u003c/a>, who represents District 3. \"We’ve got Solano, we’ve got Elmwood, we’ve got Shattuck, we’ve got Telegraph, and finally after 40 years, we’re gonna do something about South Berkeley.”\u003c/p>\n\u003cp>Anderson, who lives a block away from Adeline Street, says it used to be the heart of a thriving black neighborhood, before BART built the station and \"demolished that whole Adeline corridor.\"\u003c/p>\n\u003cfigure id=\"attachment_10888781\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-10888781\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/market-BART-logo-and-stairs-400x225.jpg\" alt=\"The flea market takes place every weekend in the Ashby BART station parking lot.\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The flea market takes place every weekend in the Ashby BART station parking lot. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Forty-three homes were eminent-domained and the construction lasted four or five years. And so all of those businesses there that were largely African-American went under ... everything from eating establishments, to funeral homes to you name it,\" says Anderson.\u003c/p>\n\u003cp>\"So here we are in 2016, trying to undo something that happened 40 years ago.”\u003c/p>\n\u003cp>Affordable housing is something that many in this neighborhood would welcome, and that's under consideration. But it may be the very thing that ends up threatening the flea market. Alisa Shen, with Berkeley’s planning department, says the city is \"just trying to solicit ideas\" at this point, but the BART parking lot is one of the few available sites where new housing could be built.\u003c/p>\n\u003cp>\"We've heard the community wants more affordable housing, and typically you look at surface parking lots or vacant lots,” says Shen.\u003c/p>\n\u003ch4>Learning From The Past?\u003c/h4>\n\u003cp>In 2006, a proposal to build residential housing on the Ashby BART parking lot site \u003ca href=\"http://www.berkeleydailyplanet.com/issue/2006-01-20/article/23234?headline=Neighbors-Oppose-Ashby-BART-Project-By-RICHARD-BRENNEMAN&status=301\" target=\"_blank\">was beaten back by neighborhood residents\u003c/a>. But Shen says the city learned its lessons during similar revisioning initiatives for downtown and West Berkeley. Many felt that developers dominated those discussions and local residents were locked out.\u003c/p>\n\u003cp>This time around, the city is conducting a survey of the flea market vendors, and holding dozens of community meetings, where they’re hearing from a lot of skeptics. At a meeting with the Community Services United board of directors and other concerned citizens, \u003ca href=\"http://berkeleycopwatch.org/\" target=\"_blank\">Berkeley Copwatch\u003c/a>'s Andrea Prichett sounded off.\u003c/p>\n\u003cp>“I feel like what’s gonna end up is, you’re gonna be building expensive apartments for people who don’t live here yet, and that the people that do live here are gonna be forced out,\" Prichett told Shen. \"And then you’re gonna be able to say that the flea market was part of the process.\"\u003c/p>\n\u003cp>The market could be relocated onto Adeline Street, which would be closed to traffic in one direction on the weekends.\u003c/p>\n\u003cp>Pamela Jackson is trying to organize her fellow vendors to create their own vision for the future. They recently held their first meeting. Jackson, who was born and raised in San Francisco, says she doesn’t want to see history repeat itself, where neighborhood improvements have ended up displacing black residents.\u003c/p>\n\u003cp>\"My family was very prominent in the \u003ca href=\"http://www.pbs.org/kqed/fillmore/learning/story.html\" target=\"_blank\">Fillmore area\u003c/a> when redevelopment came through there, so that kinda tugs at my heartstrings. To remember what happened in San Francisco to the black community there, and then to hear the same rhetoric 40, 50 years later here in Berkeley now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The planning department hopes to have a proposal for the Adeline corridor by next year. The City Council will then have the final say.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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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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"order": 15
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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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.",
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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",
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"source": "American Public Media"
},
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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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},
"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",
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"meta": {
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"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",
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"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.",
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"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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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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