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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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"headTitle": "Cy and David’s Picks: The Russians are Coming, Speaking to Angels, and Pottermania | KQED",
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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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"title": "Cy and David's Picks: The Russians are Coming, Speaking to Angels, and Pottermania | KQED",
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"headline": "Cy and David's Picks: The Russians are Coming, Speaking to Angels, and Pottermania",
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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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"disqusTitle": "From Sketchbook to Runway: Fashion Design with Zachary Fernandez",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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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"slug": "the-grace-jones-project-at-moad-deconstructs-her-flawless-arabesque",
"title": "How Does the Influence of Grace Jones Impact Art Today?",
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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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"headline": "How Does the Influence of Grace Jones Impact Art Today?",
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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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"slug": "sf-ballets-sensorium-combines-dance-with-vr-and-instant-bed-sheet-couture",
"title": "SF Ballet's 'Sensorium' Combines Dance with VR and Instant Bed Sheet Couture",
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"headTitle": "SF Ballet’s ‘Sensorium’ Combines Dance with VR and Instant Bed Sheet Couture | KQED",
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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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"title": "SF Ballet's 'Sensorium' Combines Dance with VR and Instant Bed Sheet Couture | KQED",
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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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"title": "Beautiful But Safe Oscar de la Renta 'Retrospective' at de Young",
"headTitle": "Beautiful But Safe Oscar de la Renta ‘Retrospective’ at de Young | KQED",
"content": "\u003cp>Over his six-decade-long career the late fashion designer Oscar de la Renta never stopped asking: What do women want to wear? His women — first ladies, heiresses, philanthropists and, increasingly toward the end of his career, celebrities — wanted clothing that was beautiful and luxurious yet tasteful and forgiving. They wanted clothing that fit their lives, which so often meant clothing reflective of their position in society. And he consistently delivered, both on the runway and off; the Dominican Republic-born designer’s reputation as the last of a certain breed of old-world gentleman remained as unimpeachable as the dependability of his output.\u003c/p>\n\u003cfigure id=\"attachment_11409271\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/GettyImages-114250401_1200.jpg\" alt=\"Oscar de la Renta goes over final details on a model's outfit prior to his Oscar de la Renta 2012 Resort Collection show.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11409271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-114250401_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-114250401_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-114250401_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-114250401_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-114250401_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-114250401_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Oscar de la Renta goes over final details on a model’s outfit prior to his Oscar de la Renta 2012 Resort Collection show. \u003ccite>(Photo: JP Yim/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Oscar de la Renta: The Retrospective\u003c/em>, on view at the de Young Museum through May 30, 2016, is a testament to this consistency, to the combination of technical skill, unerring good taste, and business savvy which made “Oscar” the go-to name for women interested in a certain mode of power dressing, one which purred rather than roared. As such, the exhibition feels more like one big trunk show than a critical appraisal. It is hard to tell if this is solely the fault of lax curation or simply a reflection of de la Renta’s aesthetic. And as much as I appreciate glittering eye candy, I left asking a different question: What do we want from textiles exhibitions?\u003c/p>\n\u003cfigure id=\"attachment_11409270\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/4dresses.jpg\" alt=\"Left to right: Oscar de la Renta evening ensemble ca. 1978; Oscar de la Renta caftan Spring 1982; Oscar de la Renta for Pierre Balmain evening dress Autumn/Winter 1999–2000; Oscar de la Renta dress 1963–1965.\" width=\"1200\" height=\"446\" class=\"size-full wp-image-11409270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/4dresses.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/4dresses-400x149.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/4dresses-800x297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/4dresses-768x285.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/4dresses-1180x439.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/4dresses-960x357.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Oscar de la Renta evening ensemble ca. 1978; Oscar de la Renta caftan Spring 1982; Oscar de la Renta for Pierre Balmain evening dress Autumn/Winter 1999–2000; Oscar de la Renta dress 1963–1965. \u003ccite>(Photos: Courtesy the Musuem at FIT; Erin Burns, Courtesy of the Kent State University Museum; Courtesy of Pierre Balmain; Courtesy of Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like his contemporaries Valentino Garavani, Karl Lagerfeld, and the late Yves Saint Laurent, de la Renta was of the last generation of designers to work directly under the masters — Fath, Dior, Balenciaga, Balmain — of couture’s golden age. He sketched for Balenciaga and was on the design team at Lanvin-Costello, a formative education that shows in his earliest ready-to-wear designs soon after he moved to America. \u003c/p>\n\u003cp>Case in point: A clear vinyl raincoat for Jane Derby’s Resort ’66 collection is covered in swirls and clusters of rhinestones, an embellishment worthy of an evening cape. His training also shows in simpler pieces, such as the three jewel tone, bias cut nylon and silk gowns that helped establish de la Renta’s then-fledgling namesake line when they were worn at the now-infamous \u003ca href=\"https://en.wikipedia.org/wiki/The_Battle_of_Versailles_Fashion_Show\" target=\"_blank\" rel=\"noopener\">Battle of Versailles fashion show\u003c/a> in 1973.\u003c/p>\n\u003cfigure id=\"attachment_11409135\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Versaille1200.jpg\" alt=\"Oscar de la Renta fashion show at the Battle of Versailles, November 28, 1973.\" width=\"1200\" height=\"816\" class=\"size-full wp-image-11409135\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Versaille1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Versaille1200-400x272.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Versaille1200-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Versaille1200-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Versaille1200-1180x802.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Versaille1200-960x653.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Oscar de la Renta fashion show at the Battle of Versailles, November 28, 1973. \u003ccite>(Courtesy of Oscar de la Renta Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, there are echoes of Balenciaga, in particular, in de la Renta’s deft handling of fabric (de la Renta, in fact, took the lead in organizing the \u003cem>\u003ca href=\"http://spanishinstitute.org/exhibitions-programming/exhibitions/balenciaga-spanish-master\" target=\"_blank\" rel=\"noopener\">Balenciaga: Spanish Master\u003c/a>\u003c/em> exhibition at New York’s Queen Sofía Spanish Institute in 2010, an expanded version of which later traveled to the de Young). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A de la Renta-designed saffron yellow evening cape with delicately gathered balloon sleeves, from Balmain’s autumn/winter 1993-94 collection, recalls the grand Balenciaga coat Countess Mona von Bismarck wore in the famous 1955 photograph by Cecil Beaton. The cape is on display in a gallery of other Spanish-inspired designs, each flamenco flounce and ruched yard of silk an example of de la Renta fulfilling Balenciaga’s famous quip that a designer must make a ruffle “become intelligent.”\u003c/p>\n\u003cfigure id=\"attachment_11409134\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/GettyImages-50344532_1200.jpg\" alt=\"Baroness Aino Bodisco, looking on as Beatrice Lodge is being fitted by fashion designer Oscar de la Renta in her debutante dress.\" width=\"1200\" height=\"830\" class=\"size-full wp-image-11409134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-50344532_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-50344532_1200-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-50344532_1200-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-50344532_1200-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-50344532_1200-1180x816.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-50344532_1200-960x664.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Baroness Aino Bodisco, looking on as Beatrice Lodge is being fitted by fashion designer Oscar de la Renta in her debutante dress. \u003ccite>(Photo: Nina Leen/The LIFE Picture Collection/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Certainly, de la Renta’s tenure at the Paris-based couture house of Balmain, where he was head designer 1992-2002, saw the fullest realization of his intelligence, giving him access to materials and resources to realize his creations at an entirely different level of luxury and sumptuousness. His use of sable alone, not to mention the intricacy of the embroidery and fineness of the silks in many of these pieces, would make a Catherine the Great of any socialite who wore them.\u003c/p>\n\u003cp>But unlike Balenciaga, there are no radical proposals here about volume or form, no new ways of seeing how fabric can be manipulated around and for a moving body. De la Renta is revealed to be a great synthesizer, borrowing blossoming shapes from Dior and Charles James for his dramatic ball gowns and who, following Saint Laurent, looked to China and Russia for inspiration. But he did so without the former two designers’ architectural bravura, and certainly without Saint Laurent’s penchant for glamorous provocation.\u003c/p>\n\u003cfigure id=\"attachment_11409268\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/FirstLadies1200.jpg\" alt=\"Left: Oscar de la Renta evening ensemble, 2002; On loan courtesy of Secretary Hillary Rodham Clinton. Right: Oscar de la Renta day ensemble, 2005; Mrs. Laura Bush & George W. Bush Presidential Library & Museum.\" width=\"1200\" height=\"890\" class=\"size-full wp-image-11409268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/FirstLadies1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/FirstLadies1200-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/FirstLadies1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/FirstLadies1200-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/FirstLadies1200-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/FirstLadies1200-960x712.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Oscar de la Renta evening ensemble, 2002; On loan courtesy of Secretary Hillary Rodham Clinton. Right: Oscar de la Renta day ensemble, 2005; Mrs. Laura Bush & George W. Bush Presidential Library & Museum. \u003ccite>(Left: Richard Corkery/Getty Images; Right: Doug Mills-Pool/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, there is nothing provocative about de la Renta’s designs. If a contestant on \u003cem>Ru Paul’s Drag Race\u003c/em> wore one during the runway challenge, she would undoubtedly be called beautiful, but she would neither rise to the top nor fall to the bottom. In the parlance of the television show, she would be “safe” from elimination. But beautiful and safe is what de la Renta’s customers wanted and what he gave them.\u003c/p>\n\u003cp>Beautiful but safe could also describe \u003cem>Oscar de la Renta: The Retrospective\u003c/em>. A fashion exhibition shouldn’t just be an opportunity to window-shop the closets of the rich, the powerful or the famous. There is a story that could be told here about material culture, the consolidation of wealth, of status and self-presentation, but that would require a criticality toward the objects on display that is nowhere to be found. I kept thinking about Hilary Clinton’s \u003ca href=\"http://www.motherjones.com/politics/2016/03/clinton-hiv-apology-medium\" target=\"_blank\" rel=\"noopener\">now-infamous eulogy of the late Nancy Reagan\u003c/a>, and of the continued influence of money in politics, as I stood before clothing de la Renta had designed, decades apart, for both former first ladies. \u003c/p>\n\u003cfigure id=\"attachment_11409143\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/GettyImages-124904792_master1200.jpg\" alt=\"A model walks the runway at the Oscar de laa Renta Spring 2012 fashion show; Nicki Minaj at the 2011 American Music Awards.\" width=\"1200\" height=\"538\" class=\"size-full wp-image-11409143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-124904792_master1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-124904792_master1200-400x179.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-124904792_master1200-800x359.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-124904792_master1200-768x344.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-124904792_master1200-1180x529.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-124904792_master1200-960x430.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A model walks the runway at the Oscar de laa Renta Spring 2012 fashion show; Nicki Minaj at the 2011 American Music Awards. \u003ccite>(Photo: (L) Jemal Countess/Getty Images; (R) Jason Merritt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such concerns are not part of the exhibition’s M.O. Emblematic is its final gallery, where an \u003cem>US Weekly\u003c/em> spread comes to life with footage of celebs on various red carpets displayed on a Jumbotron-sized screen next to the very gowns they are wearing. The display is a testament to the popular hold a certain dream of fashion still exerts on a public obsessed with and shaped by media, one that this retrospective’s organizers seem no less captive to.\u003c/p>\n\u003cp>De la Renta knew how to spin that dream into an extremely successful business, even in fashion’s current accelerated age. That \u003cem>Oscar de la Renta: The Retrospective\u003c/em> follows suit is both unsurprising and disappointing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Oscar de la Renta: The Retrospective\u003c/strong> is on view at the de Young in San Francisco through May 30, 2016. Visit \u003ca href=\"http://deyoung.famsf.org/exhibitions/oscar-de-la-renta-retrospective\" target=\"_blank\" rel=\"noopener\">deyoung.famsf.org\u003c/a> for tickets and more information.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over his six-decade-long career the late fashion designer Oscar de la Renta never stopped asking: What do women want to wear? His women — first ladies, heiresses, philanthropists and, increasingly toward the end of his career, celebrities — wanted clothing that was beautiful and luxurious yet tasteful and forgiving. They wanted clothing that fit their lives, which so often meant clothing reflective of their position in society. And he consistently delivered, both on the runway and off; the Dominican Republic-born designer’s reputation as the last of a certain breed of old-world gentleman remained as unimpeachable as the dependability of his output.\u003c/p>\n\u003cfigure id=\"attachment_11409271\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/GettyImages-114250401_1200.jpg\" alt=\"Oscar de la Renta goes over final details on a model's outfit prior to his Oscar de la Renta 2012 Resort Collection show.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11409271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-114250401_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-114250401_1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-114250401_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-114250401_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-114250401_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-114250401_1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Oscar de la Renta goes over final details on a model’s outfit prior to his Oscar de la Renta 2012 Resort Collection show. \u003ccite>(Photo: JP Yim/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Oscar de la Renta: The Retrospective\u003c/em>, on view at the de Young Museum through May 30, 2016, is a testament to this consistency, to the combination of technical skill, unerring good taste, and business savvy which made “Oscar” the go-to name for women interested in a certain mode of power dressing, one which purred rather than roared. As such, the exhibition feels more like one big trunk show than a critical appraisal. It is hard to tell if this is solely the fault of lax curation or simply a reflection of de la Renta’s aesthetic. And as much as I appreciate glittering eye candy, I left asking a different question: What do we want from textiles exhibitions?\u003c/p>\n\u003cfigure id=\"attachment_11409270\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/4dresses.jpg\" alt=\"Left to right: Oscar de la Renta evening ensemble ca. 1978; Oscar de la Renta caftan Spring 1982; Oscar de la Renta for Pierre Balmain evening dress Autumn/Winter 1999–2000; Oscar de la Renta dress 1963–1965.\" width=\"1200\" height=\"446\" class=\"size-full wp-image-11409270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/4dresses.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/4dresses-400x149.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/4dresses-800x297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/4dresses-768x285.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/4dresses-1180x439.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/4dresses-960x357.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Oscar de la Renta evening ensemble ca. 1978; Oscar de la Renta caftan Spring 1982; Oscar de la Renta for Pierre Balmain evening dress Autumn/Winter 1999–2000; Oscar de la Renta dress 1963–1965. \u003ccite>(Photos: Courtesy the Musuem at FIT; Erin Burns, Courtesy of the Kent State University Museum; Courtesy of Pierre Balmain; Courtesy of Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like his contemporaries Valentino Garavani, Karl Lagerfeld, and the late Yves Saint Laurent, de la Renta was of the last generation of designers to work directly under the masters — Fath, Dior, Balenciaga, Balmain — of couture’s golden age. He sketched for Balenciaga and was on the design team at Lanvin-Costello, a formative education that shows in his earliest ready-to-wear designs soon after he moved to America. \u003c/p>\n\u003cp>Case in point: A clear vinyl raincoat for Jane Derby’s Resort ’66 collection is covered in swirls and clusters of rhinestones, an embellishment worthy of an evening cape. His training also shows in simpler pieces, such as the three jewel tone, bias cut nylon and silk gowns that helped establish de la Renta’s then-fledgling namesake line when they were worn at the now-infamous \u003ca href=\"https://en.wikipedia.org/wiki/The_Battle_of_Versailles_Fashion_Show\" target=\"_blank\" rel=\"noopener\">Battle of Versailles fashion show\u003c/a> in 1973.\u003c/p>\n\u003cfigure id=\"attachment_11409135\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Versaille1200.jpg\" alt=\"Oscar de la Renta fashion show at the Battle of Versailles, November 28, 1973.\" width=\"1200\" height=\"816\" class=\"size-full wp-image-11409135\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Versaille1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Versaille1200-400x272.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Versaille1200-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Versaille1200-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Versaille1200-1180x802.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Versaille1200-960x653.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Oscar de la Renta fashion show at the Battle of Versailles, November 28, 1973. \u003ccite>(Courtesy of Oscar de la Renta Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, there are echoes of Balenciaga, in particular, in de la Renta’s deft handling of fabric (de la Renta, in fact, took the lead in organizing the \u003cem>\u003ca href=\"http://spanishinstitute.org/exhibitions-programming/exhibitions/balenciaga-spanish-master\" target=\"_blank\" rel=\"noopener\">Balenciaga: Spanish Master\u003c/a>\u003c/em> exhibition at New York’s Queen Sofía Spanish Institute in 2010, an expanded version of which later traveled to the de Young). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A de la Renta-designed saffron yellow evening cape with delicately gathered balloon sleeves, from Balmain’s autumn/winter 1993-94 collection, recalls the grand Balenciaga coat Countess Mona von Bismarck wore in the famous 1955 photograph by Cecil Beaton. The cape is on display in a gallery of other Spanish-inspired designs, each flamenco flounce and ruched yard of silk an example of de la Renta fulfilling Balenciaga’s famous quip that a designer must make a ruffle “become intelligent.”\u003c/p>\n\u003cfigure id=\"attachment_11409134\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/GettyImages-50344532_1200.jpg\" alt=\"Baroness Aino Bodisco, looking on as Beatrice Lodge is being fitted by fashion designer Oscar de la Renta in her debutante dress.\" width=\"1200\" height=\"830\" class=\"size-full wp-image-11409134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-50344532_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-50344532_1200-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-50344532_1200-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-50344532_1200-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-50344532_1200-1180x816.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-50344532_1200-960x664.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Baroness Aino Bodisco, looking on as Beatrice Lodge is being fitted by fashion designer Oscar de la Renta in her debutante dress. \u003ccite>(Photo: Nina Leen/The LIFE Picture Collection/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Certainly, de la Renta’s tenure at the Paris-based couture house of Balmain, where he was head designer 1992-2002, saw the fullest realization of his intelligence, giving him access to materials and resources to realize his creations at an entirely different level of luxury and sumptuousness. His use of sable alone, not to mention the intricacy of the embroidery and fineness of the silks in many of these pieces, would make a Catherine the Great of any socialite who wore them.\u003c/p>\n\u003cp>But unlike Balenciaga, there are no radical proposals here about volume or form, no new ways of seeing how fabric can be manipulated around and for a moving body. De la Renta is revealed to be a great synthesizer, borrowing blossoming shapes from Dior and Charles James for his dramatic ball gowns and who, following Saint Laurent, looked to China and Russia for inspiration. But he did so without the former two designers’ architectural bravura, and certainly without Saint Laurent’s penchant for glamorous provocation.\u003c/p>\n\u003cfigure id=\"attachment_11409268\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/FirstLadies1200.jpg\" alt=\"Left: Oscar de la Renta evening ensemble, 2002; On loan courtesy of Secretary Hillary Rodham Clinton. Right: Oscar de la Renta day ensemble, 2005; Mrs. Laura Bush & George W. Bush Presidential Library & Museum.\" width=\"1200\" height=\"890\" class=\"size-full wp-image-11409268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/FirstLadies1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/FirstLadies1200-400x297.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/FirstLadies1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/FirstLadies1200-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/FirstLadies1200-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/FirstLadies1200-960x712.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Left: Oscar de la Renta evening ensemble, 2002; On loan courtesy of Secretary Hillary Rodham Clinton. Right: Oscar de la Renta day ensemble, 2005; Mrs. Laura Bush & George W. Bush Presidential Library & Museum. \u003ccite>(Left: Richard Corkery/Getty Images; Right: Doug Mills-Pool/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, there is nothing provocative about de la Renta’s designs. If a contestant on \u003cem>Ru Paul’s Drag Race\u003c/em> wore one during the runway challenge, she would undoubtedly be called beautiful, but she would neither rise to the top nor fall to the bottom. In the parlance of the television show, she would be “safe” from elimination. But beautiful and safe is what de la Renta’s customers wanted and what he gave them.\u003c/p>\n\u003cp>Beautiful but safe could also describe \u003cem>Oscar de la Renta: The Retrospective\u003c/em>. A fashion exhibition shouldn’t just be an opportunity to window-shop the closets of the rich, the powerful or the famous. There is a story that could be told here about material culture, the consolidation of wealth, of status and self-presentation, but that would require a criticality toward the objects on display that is nowhere to be found. I kept thinking about Hilary Clinton’s \u003ca href=\"http://www.motherjones.com/politics/2016/03/clinton-hiv-apology-medium\" target=\"_blank\" rel=\"noopener\">now-infamous eulogy of the late Nancy Reagan\u003c/a>, and of the continued influence of money in politics, as I stood before clothing de la Renta had designed, decades apart, for both former first ladies. \u003c/p>\n\u003cfigure id=\"attachment_11409143\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/GettyImages-124904792_master1200.jpg\" alt=\"A model walks the runway at the Oscar de laa Renta Spring 2012 fashion show; Nicki Minaj at the 2011 American Music Awards.\" width=\"1200\" height=\"538\" class=\"size-full wp-image-11409143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-124904792_master1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-124904792_master1200-400x179.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-124904792_master1200-800x359.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-124904792_master1200-768x344.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-124904792_master1200-1180x529.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/GettyImages-124904792_master1200-960x430.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A model walks the runway at the Oscar de laa Renta Spring 2012 fashion show; Nicki Minaj at the 2011 American Music Awards. \u003ccite>(Photo: (L) Jemal Countess/Getty Images; (R) Jason Merritt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such concerns are not part of the exhibition’s M.O. Emblematic is its final gallery, where an \u003cem>US Weekly\u003c/em> spread comes to life with footage of celebs on various red carpets displayed on a Jumbotron-sized screen next to the very gowns they are wearing. The display is a testament to the popular hold a certain dream of fashion still exerts on a public obsessed with and shaped by media, one that this retrospective’s organizers seem no less captive to.\u003c/p>\n\u003cp>De la Renta knew how to spin that dream into an extremely successful business, even in fashion’s current accelerated age. That \u003cem>Oscar de la Renta: The Retrospective\u003c/em> follows suit is both unsurprising and disappointing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Oscar de la Renta: The Retrospective\u003c/strong> is on view at the de Young in San Francisco through May 30, 2016. Visit \u003ca href=\"http://deyoung.famsf.org/exhibitions/oscar-de-la-renta-retrospective\" target=\"_blank\" rel=\"noopener\">deyoung.famsf.org\u003c/a> for tickets and more information.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sfo-exhibit-shows-how-artists-adapted-art-nouveau-to-rock-posters",
"title": "SFO Exhibit Shows How Artists Adapted Art Nouveau to Rock Posters",
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"headTitle": "SFO Exhibit Shows How Artists Adapted Art Nouveau to Rock Posters | KQED",
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"content": "\u003cp>If you’ve wandered through the International Terminal Main Hall Departures Lobby at SFO this month, you may have noticed SFO Museum’s newest exhibit, \u003ca href=\"http://www.flysfo.com/museum/exhibitions/allure-art-nouveau\" target=\"_blank\" rel=\"noopener\">\u003cem>The Allure of Art Nouveau: 1890–1914\u003c/em>\u003c/a>. It focuses on a movement that inspired incredible creativity in everything from jewelry to architecture, and was inspired by nature at a time when the harsh, dehumanizing aspects of the Industrial Revolution were freaking people out.\u003c/p>\n\u003cfigure id=\"attachment_11361672\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11361672 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-400x296.jpg\" alt=\"Snake lamp 1900 from Vienna, Austria. On loan at SFO from Age of Elegance in Mill Valley.\" width=\"400\" height=\"296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-960x711.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut.jpg 1093w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Snake lamp 1900 from Vienna, Austria. On loan at SFO from Age of Elegance in Mill Valley. \u003ccite>(Courtesy SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In contrast, Art Nouveau celebrated organic life: curling tendrils of vegetation, vivid colors, and lots and lots of curvaceous women. Art Nouveau slid out of fashion by World War I, but echoes of its influence have burbled up through the decades — most notably during the heyday of rock concert posters and handbills in the late 1960s and early ’70s. Some of those artists are alive and well, and still living in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003ca href=\"http://www.normanorr.com/project-gallery/graphic-illustrations/vintage-fillmore-posters\" target=\"_blank\" rel=\"noopener\">Norman Orr\u003c/a>, who did about a dozen posters for Bill Graham from 1970 to ’71, says he was influenced by was the Moravian artist \u003ca href=\"http://www.alfonsmucha.org\" target=\"_blank\" rel=\"noopener\">Alphonse Mucha\u003c/a> (1860-1939). “It was the sensuality of the graceful, flowing lines of the Mucha work, and the way that the female form was combined with the sensuality of the line work that I found to be most appealing.”\u003c/p>\n\u003cfigure id=\"attachment_11361680\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11361680 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18639_Poco-qut.jpg\" alt=\"Poco at Fillmore West (1971).\" width=\"480\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18639_Poco-qut.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18639_Poco-qut-400x313.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Poco at Fillmore West (1971). \u003ccite>(Courtesy Norman Orr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In my poster for the Poco concert,” Orr says, “I employ a flowing quality to many of the design elements. The snake element, and stylized foliage are reflections of the admiration that I had for the Art Nouveau style.” Orr, now based in Mountain View, still works in a medium – wood – those artists would appreciate.\u003c/p>\n\u003cp>\u003ca href=\"http://www.jimphillips.com/rockpage.html\" target=\"_blank\" rel=\"noopener\">Jim Phillips\u003c/a> of Santa Cruz goes even further.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Art Nouveau was a blossom on a vine that has crept and spread through every civilization since the first primitive man carved a snake coiled around his knife handle. God commanded Moses to adorn the ark with gold cherubim spreading their wings, and Egyptian art such as the King Tut sarcophagus were milestones in the importance of decoration. Kings demanded their crowns and chariots be sculpted with endless ornamental and figurative designs, countless artists and craftsmen worked tirelessly for thousands of years on every conceivable surface to the point where it seems that most every figure and floral pattern possible had been done. Art Nouveau seems to be an organic ejaculation of all that was art until then.”\u003c/p>\n\u003cfigure id=\"attachment_11361792\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11361792 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18640_Clinton-qut-400x600.jpg\" alt=\"George Clinton at Maritime Hall\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18640_Clinton-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18640_Clinton-qut.jpg 528w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">George Clinton at Maritime Hall \u003ccite>(Courtesy Jim Phillips)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those sensuously drawn women, along with the bulbous letters and flat space inspired by Japanese woodblock prints, would come to define what we think of when we think of San Francisco Bay Area’s Psychedelic rock scene of the late ’60s. Which is not to say LSD and marijuana had nothing to do with the art, but again, look at those images up top. Let’s just say imitation is often considered the sincerest form of flattery. It’s also true many rock era artists were pulling inspiration from pop art and the advertising of the day.\u003c/p>\n\u003cp>The aesthetic has lingered through the decades. Phillips sees the influence in his 1996 handbill for George Clinton at Maritime Hall, “with the wistful soul-piercing look of a colorfully lit and adorned woman, with the lettering for Clinton made from feathers.” He adds: “I do not consider that my posters were done in an Art Nouveau style per se, but for me the movement was an essential element that I did attempt a nod towards.”\u003c/p>\n\u003cp>The SFO Museum recently featured the Bay Area’s most psychedelic chapter in art history with an exhibit called \u003ca href=\"http://www.flysfo.com/museum/exhibitions/when-art-rocked-san-francisco-music-posters-1966%E2%80%931971\" target=\"_blank\" rel=\"noopener\">When Art Rocked: San Francisco Music Posters 1966–1971\u003c/a>. The guest curator was Ben Marks of the \u003ca href=\"http://www.trps.org/\" target=\"_blank\" rel=\"noopener\">Rock Poster Society\u003c/a>, (whose byline you will recognize from many articles written for \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20063\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>).\u003c/p>\n\u003cp>“You can draw a straight line between Art Nouveau and psychedelic rock posters,” Martin Hohn, president of the Rock Poster Society, says. “Mucha, Jules Chéret, Aubrey Beardsley. Borrow from everything. The world is your palette. It was all meant to be populist art. It was always meant to be disposable.” He later adds: “What the artists were saying graphically was the same thing the rock bands were saying musically.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The sheer number of concerts held during those years created an enormous demand for eye-catching graphic art,” Marks wrote for \u003ca href=\"http://boingboing.net/2014/10/14/when-art-rocked.html\" target=\"_blank\" rel=\"noopener\">Boing Boing\u003c/a> when the exhibit was up. Back then, the posters and handbills were an easy way for artists to make a little bit of money off of concert promoters like Bill Graham. Today, the originals can fetch thousands of dollars from collectors. It’s not difficult to see why.\u003c/p>\n\u003cfigure id=\"attachment_11362032\" class=\"wp-caption aligncenter\" style=\"max-width: 434px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11362032\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lef%C3%A8vre-Utile-qut-434x600.jpg\" alt=\"Poster for Biscuits Lefèvre-Utile (1896), by Alphonse Mucha.\" width=\"434\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-434x600.jpg 434w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-400x553.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-768x1062.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-853x1180.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-1180x1632.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-960x1327.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut.jpg 1186w\" sizes=\"(max-width: 434px) 100vw, 434px\">\u003cfigcaption class=\"wp-caption-text\">Poster for Biscuits Lefèvre-Utile (1896), by Alphonse Mucha. \u003ccite>(Courtesy Art Renewal Center Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve wandered through the International Terminal Main Hall Departures Lobby at SFO this month, you may have noticed SFO Museum’s newest exhibit, \u003ca href=\"http://www.flysfo.com/museum/exhibitions/allure-art-nouveau\" target=\"_blank\" rel=\"noopener\">\u003cem>The Allure of Art Nouveau: 1890–1914\u003c/em>\u003c/a>. It focuses on a movement that inspired incredible creativity in everything from jewelry to architecture, and was inspired by nature at a time when the harsh, dehumanizing aspects of the Industrial Revolution were freaking people out.\u003c/p>\n\u003cfigure id=\"attachment_11361672\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11361672 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-400x296.jpg\" alt=\"Snake lamp 1900 from Vienna, Austria. On loan at SFO from Age of Elegance in Mill Valley.\" width=\"400\" height=\"296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut-960x711.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18637_12_Art_Nouveau_0-qut.jpg 1093w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Snake lamp 1900 from Vienna, Austria. On loan at SFO from Age of Elegance in Mill Valley. \u003ccite>(Courtesy SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In contrast, Art Nouveau celebrated organic life: curling tendrils of vegetation, vivid colors, and lots and lots of curvaceous women. Art Nouveau slid out of fashion by World War I, but echoes of its influence have burbled up through the decades — most notably during the heyday of rock concert posters and handbills in the late 1960s and early ’70s. Some of those artists are alive and well, and still living in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003ca href=\"http://www.normanorr.com/project-gallery/graphic-illustrations/vintage-fillmore-posters\" target=\"_blank\" rel=\"noopener\">Norman Orr\u003c/a>, who did about a dozen posters for Bill Graham from 1970 to ’71, says he was influenced by was the Moravian artist \u003ca href=\"http://www.alfonsmucha.org\" target=\"_blank\" rel=\"noopener\">Alphonse Mucha\u003c/a> (1860-1939). “It was the sensuality of the graceful, flowing lines of the Mucha work, and the way that the female form was combined with the sensuality of the line work that I found to be most appealing.”\u003c/p>\n\u003cfigure id=\"attachment_11361680\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11361680 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18639_Poco-qut.jpg\" alt=\"Poco at Fillmore West (1971).\" width=\"480\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18639_Poco-qut.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18639_Poco-qut-400x313.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Poco at Fillmore West (1971). \u003ccite>(Courtesy Norman Orr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In my poster for the Poco concert,” Orr says, “I employ a flowing quality to many of the design elements. The snake element, and stylized foliage are reflections of the admiration that I had for the Art Nouveau style.” Orr, now based in Mountain View, still works in a medium – wood – those artists would appreciate.\u003c/p>\n\u003cp>\u003ca href=\"http://www.jimphillips.com/rockpage.html\" target=\"_blank\" rel=\"noopener\">Jim Phillips\u003c/a> of Santa Cruz goes even further.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Art Nouveau was a blossom on a vine that has crept and spread through every civilization since the first primitive man carved a snake coiled around his knife handle. God commanded Moses to adorn the ark with gold cherubim spreading their wings, and Egyptian art such as the King Tut sarcophagus were milestones in the importance of decoration. Kings demanded their crowns and chariots be sculpted with endless ornamental and figurative designs, countless artists and craftsmen worked tirelessly for thousands of years on every conceivable surface to the point where it seems that most every figure and floral pattern possible had been done. Art Nouveau seems to be an organic ejaculation of all that was art until then.”\u003c/p>\n\u003cfigure id=\"attachment_11361792\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11361792 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18640_Clinton-qut-400x600.jpg\" alt=\"George Clinton at Maritime Hall\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18640_Clinton-qut-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18640_Clinton-qut.jpg 528w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">George Clinton at Maritime Hall \u003ccite>(Courtesy Jim Phillips)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those sensuously drawn women, along with the bulbous letters and flat space inspired by Japanese woodblock prints, would come to define what we think of when we think of San Francisco Bay Area’s Psychedelic rock scene of the late ’60s. Which is not to say LSD and marijuana had nothing to do with the art, but again, look at those images up top. Let’s just say imitation is often considered the sincerest form of flattery. It’s also true many rock era artists were pulling inspiration from pop art and the advertising of the day.\u003c/p>\n\u003cp>The aesthetic has lingered through the decades. Phillips sees the influence in his 1996 handbill for George Clinton at Maritime Hall, “with the wistful soul-piercing look of a colorfully lit and adorned woman, with the lettering for Clinton made from feathers.” He adds: “I do not consider that my posters were done in an Art Nouveau style per se, but for me the movement was an essential element that I did attempt a nod towards.”\u003c/p>\n\u003cp>The SFO Museum recently featured the Bay Area’s most psychedelic chapter in art history with an exhibit called \u003ca href=\"http://www.flysfo.com/museum/exhibitions/when-art-rocked-san-francisco-music-posters-1966%E2%80%931971\" target=\"_blank\" rel=\"noopener\">When Art Rocked: San Francisco Music Posters 1966–1971\u003c/a>. The guest curator was Ben Marks of the \u003ca href=\"http://www.trps.org/\" target=\"_blank\" rel=\"noopener\">Rock Poster Society\u003c/a>, (whose byline you will recognize from many articles written for \u003ca href=\"http://www.kqed.org/arts/profile/index.jsp?essid=20063\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>).\u003c/p>\n\u003cp>“You can draw a straight line between Art Nouveau and psychedelic rock posters,” Martin Hohn, president of the Rock Poster Society, says. “Mucha, Jules Chéret, Aubrey Beardsley. Borrow from everything. The world is your palette. It was all meant to be populist art. It was always meant to be disposable.” He later adds: “What the artists were saying graphically was the same thing the rock bands were saying musically.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The sheer number of concerts held during those years created an enormous demand for eye-catching graphic art,” Marks wrote for \u003ca href=\"http://boingboing.net/2014/10/14/when-art-rocked.html\" target=\"_blank\" rel=\"noopener\">Boing Boing\u003c/a> when the exhibit was up. Back then, the posters and handbills were an easy way for artists to make a little bit of money off of concert promoters like Bill Graham. Today, the originals can fetch thousands of dollars from collectors. It’s not difficult to see why.\u003c/p>\n\u003cfigure id=\"attachment_11362032\" class=\"wp-caption aligncenter\" style=\"max-width: 434px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11362032\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lef%C3%A8vre-Utile-qut-434x600.jpg\" alt=\"Poster for Biscuits Lefèvre-Utile (1896), by Alphonse Mucha.\" width=\"434\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-434x600.jpg 434w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-400x553.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-768x1062.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-853x1180.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-1180x1632.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut-960x1327.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/RS18643_Alfons_Mucha_-_1896_-_Biscuits_Lefèvre-Utile-qut.jpg 1186w\" sizes=\"(max-width: 434px) 100vw, 434px\">\u003cfigcaption class=\"wp-caption-text\">Poster for Biscuits Lefèvre-Utile (1896), by Alphonse Mucha. \u003ccite>(Courtesy Art Renewal Center Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "show-me-yours-blow-job-ballet-valentines-day-sock-hop-and-more",
"title": "Show Me Yours: 'Blow Job Ballet,' Valentine's Day Sock Hop, and More",
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"headTitle": "Show Me Yours: ‘Blow Job Ballet,’ Valentine’s Day Sock Hop, and More | KQED",
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"content": "\u003cp>For some doe-eyed couples, Valentine’s Day means sitting across from your squeeze at a rickety, dimly-lit table, eating overpriced, under-cooked food at a restaurant specially bedecked for the occasion with pink tinsel and the strains of 1980s power ballads. But if you’re not that sort of couple — or if you’re single and looking for something unusual to do on Sunday night — consider the very worthy alternative of an evening spent in the company of activist, author and erotic film actor/director Madison Young.\u003c/p>\n\u003cp>Like her mentor, the porn star, experimental performer and educator Annie Sprinkle before her, Young straddles with equal passion two worlds that rarely embrace: the adult entertainment industry (she is the recipient of no less than six Feminist Porn Awards, including snagging the “Hottest Kink Film” title for \u003cem>Bondage Boob Tube\u003c/em> in 2008) — and the rarefied world of avant-garde performance and visual art (Young curates an annual performance art and experimental film event, the \u003cem>Askew Festival\u003c/em>, at the Yerba Buena Center for the Arts, used to run the now-defunct Femina Potens gallery in San Francisco, and has given talks at Yale.)\u003c/p>\n\u003cfigure id=\"attachment_11296350\" class=\"wp-caption alignright\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296350\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-742x600.jpg\" alt='Madison Young presents her new show \"Reveal All Fear Nothing\"' width=\"742\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-742x600.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-960x777.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971.jpg 1173w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">Madison Young presents her new show “Reveal All Fear Nothing” \u003ccite>(Photo: Courtesy of Madison Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area-based artist’s new multimedia theater piece, \u003cem>\u003ca href=\"https://www.facebook.com/events/1752784434949830/\" target=\"_blank\" rel=\"noopener\">Reveal All Fear Nothing: A Journey in Sex, Love, Porn and Feminism\u003c/a>\u003c/em>, is a contemporary update on the \u003cem>Post Porn Modernist Show\u003c/em>, an iconoclastic performance work that Sprinkle toured internationally from 1989 to the mid 1990s. That show covered Sprinkle’s sexual evolution from her early years as the painfully shy little girl Ellen Steinberg to the voluptuously open and politically forthright Annie Sprinkle in an effort to demystify the sexual underworld.\u003c/p>\n\u003cp>\u003cem>Reveal All Fear Nothing\u003c/em> presents a parallel narrative for a new generation of sexually curious people and radical performance art fans. It charts Young’s own journey through the adult entertainment demimonde, and fittingly takes place in an intimate pop-up auditorium that’s been erected for the purpose in the middle of the gaping Roman Bath set at the SF Armory Building, where Young has spent much of her career to date producing erotic films. The experience promises, among other Valentine’s Day treats, a “blow-job ballet,” a segment involving anal fisting, and a special orgasmic ritual, handed down from mentor to mentee.\u003c/p>\n\u003cp>“No one could to a better adaptation of \u003cem>Post Porn Modernist\u003c/em> than Madison Young,” Annie Sprinkle says. “She’s my porn/art daughter and a sex-art gladiator!” \u003cstrong style=\"line-height: 1.5\">Catch the show Friday, Feb. 12 – Sunday, Feb. 14 at SF Armory, San Francisco. More details \u003ca href=\"https://www.facebook.com/events/1752784434949830/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But if blow job ballets aren’t your thing, don’t worry. Here are some other performing arts events to keep you busy around the digital water cooler for days to come.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 28: \u003ca href=\"http://magictheatre.org/season/dogeaters\" target=\"_blank\" rel=\"noopener\">\u003cem>Dogeaters\u003c/em> \u003c/a>at the Magic Theatre, San Francisco\u003c/strong>\u003cbr>\nThe term “dogeaters” is highly derogatory in the Philippines, though it’s quite literal: It means a Filipino who supposedly eat dogs rather than, say, chicken. Jessica Hagedorn’s 1990 novel \u003cem>Dogeaters\u003c/em> gets at the underlying meaning of the term with wit, drama and passion. Set in Manila in the second half of the 20th century during the reign of Ferdinand and Imelda Marcos, the book captures a nation uneasy in its own skin and unsure how to relate to the world beyond its borders. Hagedorn’s stage adaptation of \u003cem>Dogeaters\u003c/em> is as sprawling (there are 34 characters) as it is compelling. The plot ping-pongs between a coming-of-age story about a girl growing up in an upwardly mobile family in the 1950s, and a narrative set in 1982 about a young, hard-up male prostitute who witnesses the murder of a high-profile politician. Magic Theatre artistic director Loretta Greco directs this Bay Area premiere production.\u003c/p>\n\u003cfigure id=\"attachment_11296351\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296351\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-800x533.jpg\" alt=\"Luis Valdez's "Valley of the Heart" presented by El Teatro Campesino at San Jose Stage Company \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luis Valdez’s “Valley of the Heart” presented by El Teatro Campesino at San Jose Stage Company \u003ccite>(Photo: Dave Lepori / El Teatro Campesino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Feb. 10 – Sunday, Mar. 13: El Teatro Campesino presents \u003cem>\u003ca href=\"http://www.thestage.org/season1516/season1516.php#valleyoftheheart\" target=\"_blank\" rel=\"noopener\">Valley of the Heart\u003c/a>\u003c/em> at San Jose Stage, San Jose\u003c/strong>\u003cbr>\nDramatist Luis Valdez grew up on a ranch near San Jose, and only found out later that his family’s homestead had previously been owned by a Japanese-American family that had been sent to an internment camp following World War II. Many years on, Valdez (who made his name in the mid-1980s for the music biopic \u003cem>La Bamba\u003c/em>) transformed this discovery into a \u003cem>Romeo & Juliet\u003c/em>-like drama about a pair of struggling young lovers. When Ben Montano, who comes from a Latino family, falls in love with Japanese-American Teruko Yamaguchi, they struggle to stay together in the face of life-altering events, like the storming of Pearl Harbor and the threat of internment camps. Set in pre-tech Silicon Valley, when San Jose and Cupertino were surrounded by farms, the play reflects both Latino and Japanese cultures. “I think of this play as a Kabuki/Corrido because it blends both cultures,” Valdez says in an article about a 2014 workshop version of the production for the \u003cem>\u003ca href=\"http://www.thestage.org/season1516/season1516.php#valleyoftheheart\" target=\"_blank\" rel=\"noopener\">San Jose Mercury News\u003c/a>\u003c/em>. “I wanted to capture the multicultural fabric of life in this state.”\u003c/p>\n\u003cfigure id=\"attachment_11296352\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296352\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-800x529.jpg\" alt=\"Hot Couture 2015 at The Crucible\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-960x634.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477.jpg 1002w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hot Couture 2015 at The Crucible \u003ccite>(Photo: Heather Hryciw / The Crucible)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Feb. 12 – Saturday, Feb. 13: \u003cem>\u003ca href=\"http://thecrucible.org/hot-couture-2016/\" target=\"_blank\" rel=\"noopener\">Hot Couture 2016\u003c/a>\u003c/em> at The Crucible, Oakland\u003c/strong>\u003cbr>\nNow in its fourth year, this annual mashup of fashion and flames is at heart a wild work of performance art cunningly disguised as a runway show. What else can you expect from a production described as “Burning Man meets Cirque du Soleil”? 18 local fashion designers are working to produce more than 50 haute couture projects with industrial artists providing the fire effects to make the outlandish designs stand out. Look out for sprays of feathers, leather headpieces, and burning staffs. Bay Area radio music host Sterling James emcees the show, which also features a flamenco fire act from Fanna Ara, and live music and dance courtesy of Brazilian performance company Fogo Na Roupa, among other contributors.\u003c/p>\n\u003cfigure id=\"attachment_11296353\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-800x561.jpg\" alt=\"Valentines Day Sock Hop presented by The Presidio Trust\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-1180x828.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-1920x1347.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-960x673.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Valentines Day Sock Hop presented by The Presidio Trust \u003ccite>(Photo: Courtesy of The Presidio Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Feb. 13: \u003cem>\u003ca href=\"http://www.presidio.gov/events/Pages/valentines-day-sock-hop.aspx\" target=\"_blank\" rel=\"noopener\">Valentine’s Day Sock Hop\u003c/a>\u003c/em> at the Presidio Officers Club, San Francisco\u003c/strong>\u003cbr>\nWhat sweeter way to beckon in Valentine’s Day than with an old skool dance? The Presidio Trust’s Sock Hop takes you and your beau back to more innocent times, when “Mr. Sandman” was a perky hit for The Chordettes instead of the title of an unsettling graphic novel series, and grownups wore ribbons in their hair with no sense of irony. The event, back for a second year after the success of last February’s inaugural hop, features live music from The Ely Brothers and The Doubletake Band, dancing with the San Francisco Jitterbugs, and cocktails that will make you feel like you need a dashing chaperone in a ‘57 Chevy to bring you home.\u003c/p>\n\u003cp>And a few more promising performing arts events to keep you off the streets…\u003c/p>\n\u003cp>\u003cstrong>Thursday, Feb. 11 – Saturday, Feb. 13: \u003ca href=\"http://www.cinnabartheater.org/balloonacy/\" target=\"_blank\" rel=\"noopener\">\u003cem>Balloonacy\u003c/em> \u003c/a>at Cinnabar Theater, Petaluma\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Friday, Feb. 12 – Sunday, Mar. 6: Shotgun Players present \u003cem>\u003ca href=\"https://shotgunplayers.org/Online/blastival?menu_id=66312CE9-C728-48E6-A7F3-8EA47CB3D3A5&sToken=1%2C7ff8ad1e%2C56afc435%2C9FE69297-CBFC-4E9E-A71C-E42CD10C65CD%2CO4QfBBMXTGq2T73vj0vIM1u5oAg%3D\" target=\"_blank\" rel=\"noopener\">Blast Theatre Festival\u003c/a>\u003c/em> at the Ashby Stage, Berkeley\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Feb. 13 – Sunday, Feb. 14: Dana Michel’s \u003ca href=\"http://counterpulse.org/?tribe_events=yellow-towel/\" target=\"_blank\" rel=\"noopener\">\u003cem>Yellow Towel\u003c/em> \u003c/a>at Dance Mission, San Francisco\u003c/strong>\u003c/p>\n\n",
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"excerpt": "Our critic's picks also include world and regional theatrical premieres from El Teatro Campesino and The Magic Theatre",
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"title": "Show Me Yours: 'Blow Job Ballet,' Valentine's Day Sock Hop, and More | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For some doe-eyed couples, Valentine’s Day means sitting across from your squeeze at a rickety, dimly-lit table, eating overpriced, under-cooked food at a restaurant specially bedecked for the occasion with pink tinsel and the strains of 1980s power ballads. But if you’re not that sort of couple — or if you’re single and looking for something unusual to do on Sunday night — consider the very worthy alternative of an evening spent in the company of activist, author and erotic film actor/director Madison Young.\u003c/p>\n\u003cp>Like her mentor, the porn star, experimental performer and educator Annie Sprinkle before her, Young straddles with equal passion two worlds that rarely embrace: the adult entertainment industry (she is the recipient of no less than six Feminist Porn Awards, including snagging the “Hottest Kink Film” title for \u003cem>Bondage Boob Tube\u003c/em> in 2008) — and the rarefied world of avant-garde performance and visual art (Young curates an annual performance art and experimental film event, the \u003cem>Askew Festival\u003c/em>, at the Yerba Buena Center for the Arts, used to run the now-defunct Femina Potens gallery in San Francisco, and has given talks at Yale.)\u003c/p>\n\u003cfigure id=\"attachment_11296350\" class=\"wp-caption alignright\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296350\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-742x600.jpg\" alt='Madison Young presents her new show \"Reveal All Fear Nothing\"' width=\"742\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-742x600.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971-960x777.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MadisonYoung_RevealAllFearNothing1-e1454450161971.jpg 1173w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">Madison Young presents her new show “Reveal All Fear Nothing” \u003ccite>(Photo: Courtesy of Madison Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area-based artist’s new multimedia theater piece, \u003cem>\u003ca href=\"https://www.facebook.com/events/1752784434949830/\" target=\"_blank\" rel=\"noopener\">Reveal All Fear Nothing: A Journey in Sex, Love, Porn and Feminism\u003c/a>\u003c/em>, is a contemporary update on the \u003cem>Post Porn Modernist Show\u003c/em>, an iconoclastic performance work that Sprinkle toured internationally from 1989 to the mid 1990s. That show covered Sprinkle’s sexual evolution from her early years as the painfully shy little girl Ellen Steinberg to the voluptuously open and politically forthright Annie Sprinkle in an effort to demystify the sexual underworld.\u003c/p>\n\u003cp>\u003cem>Reveal All Fear Nothing\u003c/em> presents a parallel narrative for a new generation of sexually curious people and radical performance art fans. It charts Young’s own journey through the adult entertainment demimonde, and fittingly takes place in an intimate pop-up auditorium that’s been erected for the purpose in the middle of the gaping Roman Bath set at the SF Armory Building, where Young has spent much of her career to date producing erotic films. The experience promises, among other Valentine’s Day treats, a “blow-job ballet,” a segment involving anal fisting, and a special orgasmic ritual, handed down from mentor to mentee.\u003c/p>\n\u003cp>“No one could to a better adaptation of \u003cem>Post Porn Modernist\u003c/em> than Madison Young,” Annie Sprinkle says. “She’s my porn/art daughter and a sex-art gladiator!” \u003cstrong style=\"line-height: 1.5\">Catch the show Friday, Feb. 12 – Sunday, Feb. 14 at SF Armory, San Francisco. More details \u003ca href=\"https://www.facebook.com/events/1752784434949830/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if blow job ballets aren’t your thing, don’t worry. Here are some other performing arts events to keep you busy around the digital water cooler for days to come.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Feb. 28: \u003ca href=\"http://magictheatre.org/season/dogeaters\" target=\"_blank\" rel=\"noopener\">\u003cem>Dogeaters\u003c/em> \u003c/a>at the Magic Theatre, San Francisco\u003c/strong>\u003cbr>\nThe term “dogeaters” is highly derogatory in the Philippines, though it’s quite literal: It means a Filipino who supposedly eat dogs rather than, say, chicken. Jessica Hagedorn’s 1990 novel \u003cem>Dogeaters\u003c/em> gets at the underlying meaning of the term with wit, drama and passion. Set in Manila in the second half of the 20th century during the reign of Ferdinand and Imelda Marcos, the book captures a nation uneasy in its own skin and unsure how to relate to the world beyond its borders. Hagedorn’s stage adaptation of \u003cem>Dogeaters\u003c/em> is as sprawling (there are 34 characters) as it is compelling. The plot ping-pongs between a coming-of-age story about a girl growing up in an upwardly mobile family in the 1950s, and a narrative set in 1982 about a young, hard-up male prostitute who witnesses the murder of a high-profile politician. Magic Theatre artistic director Loretta Greco directs this Bay Area premiere production.\u003c/p>\n\u003cfigure id=\"attachment_11296351\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296351\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-800x533.jpg\" alt=\"Luis Valdez's "Valley of the Heart" presented by El Teatro Campesino at San Jose Stage Company \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/World-Premiere-of-Luis-Valdezs-Valley-of-the-Heart-at-San-Jose-Stage-Company-photo-Dave-Lepori-e1454450283602-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luis Valdez’s “Valley of the Heart” presented by El Teatro Campesino at San Jose Stage Company \u003ccite>(Photo: Dave Lepori / El Teatro Campesino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Feb. 10 – Sunday, Mar. 13: El Teatro Campesino presents \u003cem>\u003ca href=\"http://www.thestage.org/season1516/season1516.php#valleyoftheheart\" target=\"_blank\" rel=\"noopener\">Valley of the Heart\u003c/a>\u003c/em> at San Jose Stage, San Jose\u003c/strong>\u003cbr>\nDramatist Luis Valdez grew up on a ranch near San Jose, and only found out later that his family’s homestead had previously been owned by a Japanese-American family that had been sent to an internment camp following World War II. Many years on, Valdez (who made his name in the mid-1980s for the music biopic \u003cem>La Bamba\u003c/em>) transformed this discovery into a \u003cem>Romeo & Juliet\u003c/em>-like drama about a pair of struggling young lovers. When Ben Montano, who comes from a Latino family, falls in love with Japanese-American Teruko Yamaguchi, they struggle to stay together in the face of life-altering events, like the storming of Pearl Harbor and the threat of internment camps. Set in pre-tech Silicon Valley, when San Jose and Cupertino were surrounded by farms, the play reflects both Latino and Japanese cultures. “I think of this play as a Kabuki/Corrido because it blends both cultures,” Valdez says in an article about a 2014 workshop version of the production for the \u003cem>\u003ca href=\"http://www.thestage.org/season1516/season1516.php#valleyoftheheart\" target=\"_blank\" rel=\"noopener\">San Jose Mercury News\u003c/a>\u003c/em>. “I wanted to capture the multicultural fabric of life in this state.”\u003c/p>\n\u003cfigure id=\"attachment_11296352\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296352\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-800x529.jpg\" alt=\"Hot Couture 2015 at The Crucible\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477-960x634.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Hot-Couture-2015-by-Heather-Hryciw-e1454450386477.jpg 1002w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hot Couture 2015 at The Crucible \u003ccite>(Photo: Heather Hryciw / The Crucible)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Feb. 12 – Saturday, Feb. 13: \u003cem>\u003ca href=\"http://thecrucible.org/hot-couture-2016/\" target=\"_blank\" rel=\"noopener\">Hot Couture 2016\u003c/a>\u003c/em> at The Crucible, Oakland\u003c/strong>\u003cbr>\nNow in its fourth year, this annual mashup of fashion and flames is at heart a wild work of performance art cunningly disguised as a runway show. What else can you expect from a production described as “Burning Man meets Cirque du Soleil”? 18 local fashion designers are working to produce more than 50 haute couture projects with industrial artists providing the fire effects to make the outlandish designs stand out. Look out for sprays of feathers, leather headpieces, and burning staffs. Bay Area radio music host Sterling James emcees the show, which also features a flamenco fire act from Fanna Ara, and live music and dance courtesy of Brazilian performance company Fogo Na Roupa, among other contributors.\u003c/p>\n\u003cfigure id=\"attachment_11296353\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11296353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-800x561.jpg\" alt=\"Valentines Day Sock Hop presented by The Presidio Trust\" width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-1180x828.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-1920x1347.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/sock-hop-courtesy-of-the-Presidio-Trust-e1454450513573-960x673.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Valentines Day Sock Hop presented by The Presidio Trust \u003ccite>(Photo: Courtesy of The Presidio Trust)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Feb. 13: \u003cem>\u003ca href=\"http://www.presidio.gov/events/Pages/valentines-day-sock-hop.aspx\" target=\"_blank\" rel=\"noopener\">Valentine’s Day Sock Hop\u003c/a>\u003c/em> at the Presidio Officers Club, San Francisco\u003c/strong>\u003cbr>\nWhat sweeter way to beckon in Valentine’s Day than with an old skool dance? The Presidio Trust’s Sock Hop takes you and your beau back to more innocent times, when “Mr. Sandman” was a perky hit for The Chordettes instead of the title of an unsettling graphic novel series, and grownups wore ribbons in their hair with no sense of irony. The event, back for a second year after the success of last February’s inaugural hop, features live music from The Ely Brothers and The Doubletake Band, dancing with the San Francisco Jitterbugs, and cocktails that will make you feel like you need a dashing chaperone in a ‘57 Chevy to bring you home.\u003c/p>\n\u003cp>And a few more promising performing arts events to keep you off the streets…\u003c/p>\n\u003cp>\u003cstrong>Thursday, Feb. 11 – Saturday, Feb. 13: \u003ca href=\"http://www.cinnabartheater.org/balloonacy/\" target=\"_blank\" rel=\"noopener\">\u003cem>Balloonacy\u003c/em> \u003c/a>at Cinnabar Theater, Petaluma\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Friday, Feb. 12 – Sunday, Mar. 6: Shotgun Players present \u003cem>\u003ca href=\"https://shotgunplayers.org/Online/blastival?menu_id=66312CE9-C728-48E6-A7F3-8EA47CB3D3A5&sToken=1%2C7ff8ad1e%2C56afc435%2C9FE69297-CBFC-4E9E-A71C-E42CD10C65CD%2CO4QfBBMXTGq2T73vj0vIM1u5oAg%3D\" target=\"_blank\" rel=\"noopener\">Blast Theatre Festival\u003c/a>\u003c/em> at the Ashby Stage, Berkeley\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Feb. 13 – Sunday, Feb. 14: Dana Michel’s \u003ca href=\"http://counterpulse.org/?tribe_events=yellow-towel/\" target=\"_blank\" rel=\"noopener\">\u003cem>Yellow Towel\u003c/em> \u003c/a>at Dance Mission, San Francisco\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For the Super Bowl’s golden anniversary, Annice Jacoby is making a blanket.\u003c/p>\n\u003cp>The blanket doesn’t show the insignias of the two competing teams. The handmade bed covering doesn’t bear much at all, in fact, aside from the symbol of two hands raised palms-up, silk-screened in black and white.\u003c/p>\n\u003cp>While Super Bowl 50 will attract a deluge of well-heeled tourists to the Bay Area over the next few weeks, Jacoby’s \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">blanket art project\u003c/a> attempts to draw attention to a part of the city people would much rather ignore: those struggling with homelessness.\u003c/p>\n\u003cp>In response to Mayor Ed Lee’s \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Nothing-like-a-Super-Bowl-to-fix-S-F-s-6472820.php\" target=\"_blank\" rel=\"noopener\">plans\u003c/a> to move the homeless community out of the streets in preparation for the Super Bowl, citing safety and legal issues, Jacoby, a co-founder of the art organization \u003ca href=\"https://www.facebook.com/SFCityOfPoets\" target=\"_blank\" rel=\"noopener\">City of Poets\u003c/a>, teamed up with several local partners including \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a> to create a series of handmade blankets to give away to people living on the streets.\u003c/p>\n\u003cp>“What we’re doing is geared around the fact that the city has chosen to have a clean sweep to make the city a little more appealing for the Super Bowl party,” Jacoby says. “The intense escalation of the issue has created a public numbness. Our goal is to use creativity to unite.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jacoby and her team are working around the clock to make the blankets. Their handiwork doubles as a waterproof poncho with inside pockets to hold a book, a sandwich and a pair of socks. Project collaborator has composed a special song, which the group hopes will inspire others to join their cause.\u003c/p>\n\u003cp>Volunteers will distribute the blankets to those in need during the nine-day Super Bowl event and encourage the public to use social media or speak to public officials directly every time they spot one of the special blankets out in the community.\u003c/p>\n\u003cp>“We wanted to start distributing and documenting on social media the week before the Super Bowl, since that’s when people will be really focusing on San Francisco on a national level,” says Mary Hogue, co-owner of \u003ca href=\"https://www.facebook.com/missionpraxis/\" target=\"_blank\" rel=\"noopener\">Praxis\u003c/a>, a locally-made clothing store and community art space, and one of the partners on the project.\u003c/p>\n\u003cp>Jacoby approached Hogue and her business partner Aerin Willey to host sewing circles which would not only gather the helping hands needed for production, but also encourage discussion on the issue of homelessness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s giving people something to do that’s helpful and creative,” Hogue says. “It’s an act of aggressive movement in a non-divisive way. The average person on the street has a sense of helplessness and we’re trying to change it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the Super Bowl’s golden anniversary, Annice Jacoby is making a blanket.\u003c/p>\n\u003cp>The blanket doesn’t show the insignias of the two competing teams. The handmade bed covering doesn’t bear much at all, in fact, aside from the symbol of two hands raised palms-up, silk-screened in black and white.\u003c/p>\n\u003cp>While Super Bowl 50 will attract a deluge of well-heeled tourists to the Bay Area over the next few weeks, Jacoby’s \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">blanket art project\u003c/a> attempts to draw attention to a part of the city people would much rather ignore: those struggling with homelessness.\u003c/p>\n\u003cp>In response to Mayor Ed Lee’s \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Nothing-like-a-Super-Bowl-to-fix-S-F-s-6472820.php\" target=\"_blank\" rel=\"noopener\">plans\u003c/a> to move the homeless community out of the streets in preparation for the Super Bowl, citing safety and legal issues, Jacoby, a co-founder of the art organization \u003ca href=\"https://www.facebook.com/SFCityOfPoets\" target=\"_blank\" rel=\"noopener\">City of Poets\u003c/a>, teamed up with several local partners including \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a> to create a series of handmade blankets to give away to people living on the streets.\u003c/p>\n\u003cp>“What we’re doing is geared around the fact that the city has chosen to have a clean sweep to make the city a little more appealing for the Super Bowl party,” Jacoby says. “The intense escalation of the issue has created a public numbness. Our goal is to use creativity to unite.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jacoby and her team are working around the clock to make the blankets. Their handiwork doubles as a waterproof poncho with inside pockets to hold a book, a sandwich and a pair of socks. Project collaborator has composed a special song, which the group hopes will inspire others to join their cause.\u003c/p>\n\u003cp>Volunteers will distribute the blankets to those in need during the nine-day Super Bowl event and encourage the public to use social media or speak to public officials directly every time they spot one of the special blankets out in the community.\u003c/p>\n\u003cp>“We wanted to start distributing and documenting on social media the week before the Super Bowl, since that’s when people will be really focusing on San Francisco on a national level,” says Mary Hogue, co-owner of \u003ca href=\"https://www.facebook.com/missionpraxis/\" target=\"_blank\" rel=\"noopener\">Praxis\u003c/a>, a locally-made clothing store and community art space, and one of the partners on the project.\u003c/p>\n\u003cp>Jacoby approached Hogue and her business partner Aerin Willey to host sewing circles which would not only gather the helping hands needed for production, but also encourage discussion on the issue of homelessness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s giving people something to do that’s helpful and creative,” Hogue says. “It’s an act of aggressive movement in a non-divisive way. The average person on the street has a sense of helplessness and we’re trying to change it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'What Did David Bowie Do At Your Age?' Will Make You Feel Inadequate / Love Him Even More",
"title": "'What Did David Bowie Do At Your Age?' Will Make You Feel Inadequate / Love Him Even More",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>The Internet is chock-full of David Bowie memories today, as it should be. We remember\u003ca href=\"http://ww2.kqed.org/pop/2016/01/11/this-time-its-personal-why-losing-david-bowie-means-something-different-to-everyone/\" target=\"_blank\"> the first time we heard\u003c/a> \"Oh! You Pretty Things\" in our childhood basement. We remember \u003ca href=\"http://ww2.kqed.org/pop/2016/01/11/watch-all-the-david-bowie-scenes-from-labyrinth/\" target=\"_blank\">his turn as the Goblin King\u003c/a> in \u003cem>Labyrinth\u003c/em>. We remember \u003ca href=\"http://news.yahoo.com/david-bowie-mugshot-marijuana-rochester-150029295.html\" target=\"_blank\">his beautiful mugshot\u003c/a>. And, thanks to \"\u003ca href=\"http://supbowie.com/\" target=\"_blank\">What Did David Bowie Do At Your Age?\u003c/a>” , you can remember other landmarks from his life (and compare them unfavorably to your own; alas, we can't all be rock royalty).\u003c/p>\n\u003cp>Since most of you are over 15, here are some amusing youthful accomplishments:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-3.40.18-PM.png\" rel=\"attachment wp-att-19853\">\u003cimg class=\"aligncenter size-medium wp-image-19853\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-3.40.18-PM.png\" alt=\"Screen Shot 2016-01-11 at 3.40.18 PM\" width=\"693\" height=\"189\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-3.40.18-PM.png 693w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-3.40.18-PM-400x109.png 400w\" sizes=\"(max-width: 693px) 100vw, 693px\">\u003c/a>\u003c/p>\n\u003cp>Was there even a question?\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.19-PM.png\" rel=\"attachment wp-att-19852\">\u003cimg class=\"aligncenter size-medium wp-image-19852\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.19-PM-800x209.png\" alt=\"Screen Shot 2016-01-11 at 4.00.19 PM\" width=\"800\" height=\"209\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.19-PM-800x209.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.19-PM-400x105.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.19-PM-768x201.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.19-PM.png 906w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I hate hot beverages too! Too risky! Room temp is fine! Bowie got it.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.35-PM.png\" rel=\"attachment wp-att-19851\">\u003cimg class=\"aligncenter size-medium wp-image-19851\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.35-PM.png\" alt=\"Screen Shot 2016-01-11 at 4.00.35 PM\" width=\"603\" height=\"458\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.35-PM.png 603w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.35-PM-400x304.png 400w\" sizes=\"(max-width: 603px) 100vw, 603px\">\u003c/a>\u003c/p>\n\u003cp>Some childhood photos are more miraculous than others.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.17-PM.png\" rel=\"attachment wp-att-19850\">\u003cimg class=\"aligncenter size-medium wp-image-19850\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.17-PM.png\" alt=\"Screen Shot 2016-01-11 at 4.01.17 PM\" width=\"626\" height=\"177\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.17-PM.png 626w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.17-PM-400x113.png 400w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003c/a>\u003c/p>\n\u003cp>What a delicious way of entering your teenage years!\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.24-PM.png\" rel=\"attachment wp-att-19849\">\u003cimg class=\"aligncenter size-medium wp-image-19849\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.24-PM.png\" alt=\"Screen Shot 2016-01-11 at 4.01.24 PM\" width=\"614\" height=\"947\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.24-PM.png 614w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.24-PM-400x617.png 400w\" sizes=\"(max-width: 614px) 100vw, 614px\">\u003c/a>\u003c/p>\n\u003cp>Imagine all the girls and boys who planned on asking, but ended up getting too nervous. Hubba hubba!\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.40-PM.png\" rel=\"attachment wp-att-19848\">\u003cimg class=\"aligncenter size-medium wp-image-19848\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.40-PM-800x718.png\" alt=\"Screen Shot 2016-01-11 at 4.01.40 PM\" width=\"800\" height=\"718\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.40-PM-800x718.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.40-PM-400x359.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.40-PM-768x689.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.40-PM.png 885w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>There are almost no photos of me at 15 because everything about me was unfortunate. This is not the case for dear Bowie. Take a few moments to worship at the altar of his hair. And does it get cooler than leaning your elbow on a sax? A hard nope!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He will be missed.\u003c/p>\n\n",
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"excerpt": "This site lets you compare what you're doing with your life with what Bowie was doing with his at that age. Proceed with caution.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Internet is chock-full of David Bowie memories today, as it should be. We remember\u003ca href=\"http://ww2.kqed.org/pop/2016/01/11/this-time-its-personal-why-losing-david-bowie-means-something-different-to-everyone/\" target=\"_blank\"> the first time we heard\u003c/a> \"Oh! You Pretty Things\" in our childhood basement. We remember \u003ca href=\"http://ww2.kqed.org/pop/2016/01/11/watch-all-the-david-bowie-scenes-from-labyrinth/\" target=\"_blank\">his turn as the Goblin King\u003c/a> in \u003cem>Labyrinth\u003c/em>. We remember \u003ca href=\"http://news.yahoo.com/david-bowie-mugshot-marijuana-rochester-150029295.html\" target=\"_blank\">his beautiful mugshot\u003c/a>. And, thanks to \"\u003ca href=\"http://supbowie.com/\" target=\"_blank\">What Did David Bowie Do At Your Age?\u003c/a>” , you can remember other landmarks from his life (and compare them unfavorably to your own; alas, we can't all be rock royalty).\u003c/p>\n\u003cp>Since most of you are over 15, here are some amusing youthful accomplishments:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-3.40.18-PM.png\" rel=\"attachment wp-att-19853\">\u003cimg class=\"aligncenter size-medium wp-image-19853\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-3.40.18-PM.png\" alt=\"Screen Shot 2016-01-11 at 3.40.18 PM\" width=\"693\" height=\"189\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-3.40.18-PM.png 693w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-3.40.18-PM-400x109.png 400w\" sizes=\"(max-width: 693px) 100vw, 693px\">\u003c/a>\u003c/p>\n\u003cp>Was there even a question?\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.19-PM.png\" rel=\"attachment wp-att-19852\">\u003cimg class=\"aligncenter size-medium wp-image-19852\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.19-PM-800x209.png\" alt=\"Screen Shot 2016-01-11 at 4.00.19 PM\" width=\"800\" height=\"209\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.19-PM-800x209.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.19-PM-400x105.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.19-PM-768x201.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.19-PM.png 906w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I hate hot beverages too! Too risky! Room temp is fine! Bowie got it.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.35-PM.png\" rel=\"attachment wp-att-19851\">\u003cimg class=\"aligncenter size-medium wp-image-19851\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.35-PM.png\" alt=\"Screen Shot 2016-01-11 at 4.00.35 PM\" width=\"603\" height=\"458\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.35-PM.png 603w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.00.35-PM-400x304.png 400w\" sizes=\"(max-width: 603px) 100vw, 603px\">\u003c/a>\u003c/p>\n\u003cp>Some childhood photos are more miraculous than others.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.17-PM.png\" rel=\"attachment wp-att-19850\">\u003cimg class=\"aligncenter size-medium wp-image-19850\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.17-PM.png\" alt=\"Screen Shot 2016-01-11 at 4.01.17 PM\" width=\"626\" height=\"177\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.17-PM.png 626w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.17-PM-400x113.png 400w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003c/a>\u003c/p>\n\u003cp>What a delicious way of entering your teenage years!\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.24-PM.png\" rel=\"attachment wp-att-19849\">\u003cimg class=\"aligncenter size-medium wp-image-19849\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.24-PM.png\" alt=\"Screen Shot 2016-01-11 at 4.01.24 PM\" width=\"614\" height=\"947\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.24-PM.png 614w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.24-PM-400x617.png 400w\" sizes=\"(max-width: 614px) 100vw, 614px\">\u003c/a>\u003c/p>\n\u003cp>Imagine all the girls and boys who planned on asking, but ended up getting too nervous. Hubba hubba!\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.40-PM.png\" rel=\"attachment wp-att-19848\">\u003cimg class=\"aligncenter size-medium wp-image-19848\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.40-PM-800x718.png\" alt=\"Screen Shot 2016-01-11 at 4.01.40 PM\" width=\"800\" height=\"718\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.40-PM-800x718.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.40-PM-400x359.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.40-PM-768x689.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/01/Screen-Shot-2016-01-11-at-4.01.40-PM.png 885w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>There are almost no photos of me at 15 because everything about me was unfortunate. This is not the case for dear Bowie. Take a few moments to worship at the altar of his hair. And does it get cooler than leaning your elbow on a sax? A hard nope!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He will be missed.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"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",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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