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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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"title": "SFO Exhibit Shows How Artists Adapted Art Nouveau to Rock Posters",
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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",
"publishDate": 1454979600,
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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",
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"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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"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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"title": "Designer André Courrèges, Master of Miniskirts and Go-Go Boots, Dies",
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"content": "\u003cp>French designer André Courrèges, whose futuristic dresses, bold glasses and go-go boots inspired a horde of imitators, has died at 92.\u003c/p>\n\u003cp>Courrèges died after three decades of living with Parkinson’s disease, \u003ca href=\"http://www.vogue.co.uk/news/2016/01/08/fashion-designer-andre-courreges-dies-aged-92\" target=\"_blank\" rel=\"noopener\">Vogue says\u003c/a>.\u003c/p>\n\u003cp>The designer studied engineering as a young man, before turning to fashion and textiles, \u003ca href=\"http://www.vam.ac.uk/content/articles/a/andre-courreges/\" target=\"_blank\" rel=\"noopener\">the Victoria and Albert Museum writes\u003c/a>. He worked at Balenciaga for a decade before launching his own fashion house, with the help of his wife and business partner, Coqueline Courrèges, a designer who was also mentored by Balenciaga.\u003c/p>\n\u003cfigure id=\"attachment_11230880\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/gettyimages-542354857-4500_custom-c25003abc8ebf7eb46811fa26834ac4b242d4f90-1180x864.jpg\" alt=\"A Courrèges creation, circa 1965.\" width=\"640\" height=\"469\" class=\"size-large wp-image-11230880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-542354857-4500_custom-c25003abc8ebf7eb46811fa26834ac4b242d4f90-1180x864.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-542354857-4500_custom-c25003abc8ebf7eb46811fa26834ac4b242d4f90-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-542354857-4500_custom-c25003abc8ebf7eb46811fa26834ac4b242d4f90-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-542354857-4500_custom-c25003abc8ebf7eb46811fa26834ac4b242d4f90-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-542354857-4500_custom-c25003abc8ebf7eb46811fa26834ac4b242d4f90-1920x1405.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-542354857-4500_custom-c25003abc8ebf7eb46811fa26834ac4b242d4f90-960x703.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A Courrèges creation, circa 1965. \u003ccite>(Photo: ullstein bild/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His company’s website provides \u003ca href=\"http://www.courreges.com/courreges_en\" target=\"_blank\" rel=\"noopener\">a pithy rundown\u003c/a> of his early accomplishments:\u003c/p>\n\u003cblockquote>\n\u003cp>“Opens his couture house in 1961. Thanks to him, women discover pants in 1963. Revolution in 1965. Miniskirt.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Hyperbole aside, Courrèges certainly did help transform women’s pants from casual clothing to a haute couture item.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And along with British designer Mary Quant, he is indeed widely credited with popularizing the miniskirt.\u003c/p>\n\u003cfigure id=\"attachment_11230881\" class=\"wp-caption alignright\" style=\"max-width: 459px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/ap_6902241469_custom-d06fa08f96c2908f1a628814713afd3f61e644f7-459x600.jpg\" alt=\"A white organdy, see-through gown with blue embroidered motifs, by Andre Courrèges, 1969\" width=\"459\" height=\"600\" class=\"size-medium wp-image-11230881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ap_6902241469_custom-d06fa08f96c2908f1a628814713afd3f61e644f7-459x600.jpg 459w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ap_6902241469_custom-d06fa08f96c2908f1a628814713afd3f61e644f7-400x523.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ap_6902241469_custom-d06fa08f96c2908f1a628814713afd3f61e644f7-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ap_6902241469_custom-d06fa08f96c2908f1a628814713afd3f61e644f7-903x1180.jpg 903w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ap_6902241469_custom-d06fa08f96c2908f1a628814713afd3f61e644f7-1920x2509.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ap_6902241469_custom-d06fa08f96c2908f1a628814713afd3f61e644f7-1180x1542.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ap_6902241469_custom-d06fa08f96c2908f1a628814713afd3f61e644f7-960x1254.jpg 960w\" sizes=\"(max-width: 459px) 100vw, 459px\">\u003cfigcaption class=\"wp-caption-text\">A white organdy, see-through gown with blue embroidered motifs, by Andre Courrèges, 1969 \u003ccite>(Phooto: Jacques Marqueton/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Courrèges’ clothes had an ultramodern vibe to them — his 1964 line became known as the “Space Age” or “Moon Girl” collection. His trademark colors were white and silver; his signature style, rigidly constructed clothes with sharp lines and trapezoidal shapes.\u003c/p>\n\u003cp>At times, the master of Mod pushed the boundary between “clothed” and “naked,” with clothes featuring prominent cutouts and transparent materials in addition to sky-high hemlines.\u003c/p>\n\u003cp>He brought the world go-go boots when he began dressing his models in low-heeled, calf-high white boots of vinyl or plastic. Pairing those boots with trapeze dresses, cropped jackets, goggles, helmets and gloves — and visual cues taken from space exploration — he crafted an instantly recognizable, and frequently copied, aesthetic.\u003c/p>\n\u003cp>In 1999, \u003cem>Women’s Wear Daily \u003c/em>collected some of Courrèges’ early comments on fashion.\u003c/p>\n\u003cp>“To make something that is true to life — that is what work is all about,” the designer said in 1963. “I don’t care if I stay small or grow large, make money or not. That doesn’t matter. What matters is the truth; to create a true thing.”\u003c/p>\n\u003cp>[gallery type=\"slideshow\" link=\"none\" size=\"large\" ids=\"11230876,11230878,11230877,11230875,11230874\"]\u003c/p>\n\u003cp>Courrèges left fashion design in the ’90s, dedicating himself to painting and sculpture, \u003cem>Vogue \u003c/em>says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He and his wife sold the Courrèges fashion house in 2011. Under a new generation of artistic directors, his \u003ca href=\"http://www.vogue.com/fashion-shows/spring-2016-ready-to-wear/courreges\" target=\"_blank\" rel=\"noopener\">signature\u003c/a> aesthetic \u003ca href=\"http://nymag.com/thecut/2014/10/legendary-french-fashion-house-returns.html\" target=\"_blank\" rel=\"noopener\">continues\u003c/a> to appear on the world’s \u003ca href=\"http://www.manrepeller.com/2015/10/courreges-mr-crystal-ball-might-be-the-comeback-kid.html\" target=\"_blank\" rel=\"noopener\">runways\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Designer+Andr%C3%A9+Courr%C3%A8ges%2C+Master+Of+Miniskirts+And+Go-Go+Boots%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>French designer André Courrèges, whose futuristic dresses, bold glasses and go-go boots inspired a horde of imitators, has died at 92.\u003c/p>\n\u003cp>Courrèges died after three decades of living with Parkinson’s disease, \u003ca href=\"http://www.vogue.co.uk/news/2016/01/08/fashion-designer-andre-courreges-dies-aged-92\" target=\"_blank\" rel=\"noopener\">Vogue says\u003c/a>.\u003c/p>\n\u003cp>The designer studied engineering as a young man, before turning to fashion and textiles, \u003ca href=\"http://www.vam.ac.uk/content/articles/a/andre-courreges/\" target=\"_blank\" rel=\"noopener\">the Victoria and Albert Museum writes\u003c/a>. He worked at Balenciaga for a decade before launching his own fashion house, with the help of his wife and business partner, Coqueline Courrèges, a designer who was also mentored by Balenciaga.\u003c/p>\n\u003cfigure id=\"attachment_11230880\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/gettyimages-542354857-4500_custom-c25003abc8ebf7eb46811fa26834ac4b242d4f90-1180x864.jpg\" alt=\"A Courrèges creation, circa 1965.\" width=\"640\" height=\"469\" class=\"size-large wp-image-11230880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-542354857-4500_custom-c25003abc8ebf7eb46811fa26834ac4b242d4f90-1180x864.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-542354857-4500_custom-c25003abc8ebf7eb46811fa26834ac4b242d4f90-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-542354857-4500_custom-c25003abc8ebf7eb46811fa26834ac4b242d4f90-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-542354857-4500_custom-c25003abc8ebf7eb46811fa26834ac4b242d4f90-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-542354857-4500_custom-c25003abc8ebf7eb46811fa26834ac4b242d4f90-1920x1405.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/gettyimages-542354857-4500_custom-c25003abc8ebf7eb46811fa26834ac4b242d4f90-960x703.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A Courrèges creation, circa 1965. \u003ccite>(Photo: ullstein bild/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His company’s website provides \u003ca href=\"http://www.courreges.com/courreges_en\" target=\"_blank\" rel=\"noopener\">a pithy rundown\u003c/a> of his early accomplishments:\u003c/p>\n\u003cblockquote>\n\u003cp>“Opens his couture house in 1961. Thanks to him, women discover pants in 1963. Revolution in 1965. Miniskirt.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Hyperbole aside, Courrèges certainly did help transform women’s pants from casual clothing to a haute couture item.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And along with British designer Mary Quant, he is indeed widely credited with popularizing the miniskirt.\u003c/p>\n\u003cfigure id=\"attachment_11230881\" class=\"wp-caption alignright\" style=\"max-width: 459px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/ap_6902241469_custom-d06fa08f96c2908f1a628814713afd3f61e644f7-459x600.jpg\" alt=\"A white organdy, see-through gown with blue embroidered motifs, by Andre Courrèges, 1969\" width=\"459\" height=\"600\" class=\"size-medium wp-image-11230881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ap_6902241469_custom-d06fa08f96c2908f1a628814713afd3f61e644f7-459x600.jpg 459w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ap_6902241469_custom-d06fa08f96c2908f1a628814713afd3f61e644f7-400x523.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ap_6902241469_custom-d06fa08f96c2908f1a628814713afd3f61e644f7-768x1003.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ap_6902241469_custom-d06fa08f96c2908f1a628814713afd3f61e644f7-903x1180.jpg 903w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ap_6902241469_custom-d06fa08f96c2908f1a628814713afd3f61e644f7-1920x2509.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ap_6902241469_custom-d06fa08f96c2908f1a628814713afd3f61e644f7-1180x1542.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/ap_6902241469_custom-d06fa08f96c2908f1a628814713afd3f61e644f7-960x1254.jpg 960w\" sizes=\"(max-width: 459px) 100vw, 459px\">\u003cfigcaption class=\"wp-caption-text\">A white organdy, see-through gown with blue embroidered motifs, by Andre Courrèges, 1969 \u003ccite>(Phooto: Jacques Marqueton/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Courrèges’ clothes had an ultramodern vibe to them — his 1964 line became known as the “Space Age” or “Moon Girl” collection. His trademark colors were white and silver; his signature style, rigidly constructed clothes with sharp lines and trapezoidal shapes.\u003c/p>\n\u003cp>At times, the master of Mod pushed the boundary between “clothed” and “naked,” with clothes featuring prominent cutouts and transparent materials in addition to sky-high hemlines.\u003c/p>\n\u003cp>He brought the world go-go boots when he began dressing his models in low-heeled, calf-high white boots of vinyl or plastic. Pairing those boots with trapeze dresses, cropped jackets, goggles, helmets and gloves — and visual cues taken from space exploration — he crafted an instantly recognizable, and frequently copied, aesthetic.\u003c/p>\n\u003cp>In 1999, \u003cem>Women’s Wear Daily \u003c/em>collected some of Courrèges’ early comments on fashion.\u003c/p>\n\u003cp>“To make something that is true to life — that is what work is all about,” the designer said in 1963. “I don’t care if I stay small or grow large, make money or not. That doesn’t matter. What matters is the truth; to create a true thing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Courrèges left fashion design in the ’90s, dedicating himself to painting and sculpture, \u003cem>Vogue \u003c/em>says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He and his wife sold the Courrèges fashion house in 2011. Under a new generation of artistic directors, his \u003ca href=\"http://www.vogue.com/fashion-shows/spring-2016-ready-to-wear/courreges\" target=\"_blank\" rel=\"noopener\">signature\u003c/a> aesthetic \u003ca href=\"http://nymag.com/thecut/2014/10/legendary-french-fashion-house-returns.html\" target=\"_blank\" rel=\"noopener\">continues\u003c/a> to appear on the world’s \u003ca href=\"http://www.manrepeller.com/2015/10/courreges-mr-crystal-ball-might-be-the-comeback-kid.html\" target=\"_blank\" rel=\"noopener\">runways\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Designer+Andr%C3%A9+Courr%C3%A8ges%2C+Master+Of+Miniskirts+And+Go-Go+Boots%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How Senior Fashion is Turning Heads in San Francisco's Chinatown",
"headTitle": "How Senior Fashion is Turning Heads in San Francisco’s Chinatown | KQED",
"content": "\u003cp>Furry hats, custom bags, hand-sewn sweaters, and lots of wild prints. These bold fashions are all the rage among the elders of San Francisco’s Chinatown.\u003c/p>\n\u003cfigure id=\"attachment_11152190\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck.jpg\" rel=\"attachment wp-att-11152190\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck-400x533.jpg\" alt=\"Buck Chew at the opening of the Chinatown Pretty exhibit at 41 Ross Alley.\" width=\"400\" height=\"533\" class=\"size-thumbnail wp-image-11152190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Buck Chew at the opening of the Chinatown Pretty exhibit at 41 Ross Alley. \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photographer Andria Lo and writer Valerie Luu are chronicling senior style in the neighborhood with their \u003cem>\u003ca href=\"http://chinatownpretty.com/\" target=\"_blank\" rel=\"noopener\">Chinatown Pretty\u003c/a> \u003c/em>fashion and storytelling project. These days Lo and Luu spend most weekends in Chinatown learning about local style. \u003c/p>\n\u003cp>“Purple is really big in Chinatown,” Luu says. “Sometimes people wear four shades in one outfit. There’s a lot of cane fashion, too, like floral walking canes. Men usually wear monochromatic outfits. You see lots of baseball caps and sneakers — borderline hip hop fashion.”\u003c/p>\n\u003cp>Lo and Luu were inspired to create the project while Luu was living in Chinatown.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/239729155″ 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>“Many mornings I would sit in Réveille Coffee, journaling and watching people get off the bus,” Luu says. “I would always notice this woman wearing bright green jade sneakers with this 1980s speckled print. It looked young and fresh but I could tell she was a senior based on her silver bob. She was my fashion missed connection.”\u003c/p>\n\u003cfigure id=\"attachment_11152188\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Man-Ta.jpg\" rel=\"attachment wp-att-11152188\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Man-Ta-400x600.jpg\" alt=\"Man Ta, the woman in the Jade Shoes, is the posterwoman for Chinatown Pretty\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-11152188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta-1180x1769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Man Ta, the woman in the Jade Shoes, is the posterwoman for Chinatown Pretty \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luu met the woman in the Jade shoes a couple of months later. Her name is Man Ta and she became the poster child for \u003cem>Chinatown Pretty\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The project started as a \u003ca href=\"http://www.thebolditalic.com/articles/4703-chinatown-sartorialist\" target=\"_blank\" rel=\"noopener\">single article\u003c/a> for\u003ci> the Bold Italic,\u003c/i> a local culture website. Then \u003ca href=\"http://www.chinatowncdc.org/\" target=\"_blank\" rel=\"noopener\">the Chinatown Community Development Center\u003c/a> (CCDC) caught wind of it.\u003c/p>\n\u003cp>“Somehow we landed on their website and we said, ‘gee this is interesting!’ says Cathie Lam, senior community organizer for CCDC. “We kinda hit a pot of gold!” \u003c/p>\n\u003cp>The CCDC asked Luu and Lo to turn \u003cem>Chinatown Pretty\u003c/em> into a photo exhibition and blog. This is in conjunction with a shop Chinatown initiative, which aims to boost business during the holiday season. Lam says the project comes at a time when neighborhood culture and commerce are being threatened by development. \u003c/p>\n\u003cfigure id=\"attachment_11224959\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1.jpg\" rel=\"attachment wp-att-11224959\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-1180x885.jpg\" alt=\"Photographer Andria Lo in Chinatown\" width=\"640\" height=\"480\" class=\"size-large wp-image-11224959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photographer Andria Lo in Chinatown \u003ccite>(Photo: Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The commerce has been affected by the construction especially along Stockton street,” Lam says.\u003c/p>\n\u003cfigure id=\"attachment_11152191\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Julie-Fong.jpg\" rel=\"attachment wp-att-11152191\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Julie-Fong-400x600.jpg\" alt=\"Julie Fong wears a handmade corduroy top. She’s been living in Chinatown for over 50 years.\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-11152191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Julie Fong wears a handmade corduroy top. She’s been living in Chinatown for over 50 years. \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lam thinks fashion can help draw attention to the personality of the neighborhood.\u003c/p>\n\u003cp>“You know fashion is a very common commodity, or a common thread to help people to see behind all the neon signs, that there are human beings living in Chinatown very actively,” Lam says.\u003c/p>\n\u003cp>“What I like about Chinatown culture and the seniors that live here is that they are out there,” Luu says. “A lot of people are 80 plus and more active than we are. And can actually can outrun us.” \u003c/p>\n\u003cp>Both Luu and Lo are Asian, but neither speaks Cantonese, so they usually hit the streets of Chinatown accompanied by a translator. Every weekend they ask dozens of people to share their story and pose for a picture. But for every “yes”, they get about ten “no’s.”\u003c/p>\n\u003cfigure id=\"attachment_11224961\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2.jpg\" rel=\"attachment wp-att-11224961\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-1180x885.jpg\" alt=\"Writer Valerie Luu of Chinatown Pretty\" width=\"640\" height=\"480\" class=\"size-large wp-image-11224961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Writer Valerie Luu of Chinatown Pretty \u003ccite>(Photo: Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re keeping a log of common excuses,” Lo says. “I’m going grocery shopping right now; my knees hurt; I can’t hear very well. It’s really rewarding when we are able to connect and get their story.”\u003c/p>\n\u003cfigure id=\"attachment_11152192\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Joyce-Wing.jpg\" rel=\"attachment wp-att-11152192\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Joyce-Wing-400x600.jpg\" alt=\"A photo of Joyce Wing from the Chinatown Pretty blog.\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-11152192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Joyce-Wing-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Joyce-Wing-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Joyce-Wing-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Joyce-Wing.jpg 1080w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A photo of Joyce Wing from the Chinatown Pretty blog \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project bears some similarity to \u003cem>\u003ca href=\"http://accidentalchinesehipsters.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Accidental Chinese Hipster\u003c/a>, \u003c/em>a blog that pokes fun at Asian fashion and its likeness to hipster style. Luu and Lo say their project is different. \u003cem>Chinatown Pretty\u003c/em> focuses on beautiful portraits \u003cem>and\u003c/em> subject interviews. \u003cspan style=\"font-weight: 400\">Lo says hearing people’s stories is as important as taking stock of their style.\u003c/span>\u003c/p>\n\u003cp>“We often ask them how did you come to America?” Lo says. “And a lot of times they’ll talk about ‘oh well we made this shirt because we worked in a factory 30 years ago.’ It has revealed a lot about the history of Chinatown. And the immigration stories are really interesting.”\u003c/p>\n\u003cp>The women hope to expand the project beyond San Francisco. Their dream is to visit Chinatowns across the country — from Los Angeles to New York.\u003c/p>\n\u003cfigure id=\"attachment_11152189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit.jpg\" rel=\"attachment wp-att-11152189\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit-800x533.jpg\" alt=\"The opening of Chinatown Pretty exhibit.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11152189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The opening of Chinatown Pretty exhibit \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Chinatown Pretty exhibition is on view in San Francisco’s Chinatown at 41 Ross Alley through February 28, 2016. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Furry hats, custom bags, hand-sewn sweaters, and lots of wild prints. These bold fashions are all the rage among the elders of San Francisco’s Chinatown.\u003c/p>\n\u003cfigure id=\"attachment_11152190\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck.jpg\" rel=\"attachment wp-att-11152190\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck-400x533.jpg\" alt=\"Buck Chew at the opening of the Chinatown Pretty exhibit at 41 Ross Alley.\" width=\"400\" height=\"533\" class=\"size-thumbnail wp-image-11152190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Buck-Chew-aka-Butterfly-Buck.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Buck Chew at the opening of the Chinatown Pretty exhibit at 41 Ross Alley. \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Photographer Andria Lo and writer Valerie Luu are chronicling senior style in the neighborhood with their \u003cem>\u003ca href=\"http://chinatownpretty.com/\" target=\"_blank\" rel=\"noopener\">Chinatown Pretty\u003c/a> \u003c/em>fashion and storytelling project. These days Lo and Luu spend most weekends in Chinatown learning about local style. \u003c/p>\n\u003cp>“Purple is really big in Chinatown,” Luu says. “Sometimes people wear four shades in one outfit. There’s a lot of cane fashion, too, like floral walking canes. Men usually wear monochromatic outfits. You see lots of baseball caps and sneakers — borderline hip hop fashion.”\u003c/p>\n\u003cp>Lo and Luu were inspired to create the project while Luu was living in Chinatown.\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/239729155″&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/239729155″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Many mornings I would sit in Réveille Coffee, journaling and watching people get off the bus,” Luu says. “I would always notice this woman wearing bright green jade sneakers with this 1980s speckled print. It looked young and fresh but I could tell she was a senior based on her silver bob. She was my fashion missed connection.”\u003c/p>\n\u003cfigure id=\"attachment_11152188\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Man-Ta.jpg\" rel=\"attachment wp-att-11152188\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Man-Ta-400x600.jpg\" alt=\"Man Ta, the woman in the Jade Shoes, is the posterwoman for Chinatown Pretty\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-11152188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta-1180x1769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Man-Ta.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Man Ta, the woman in the Jade Shoes, is the posterwoman for Chinatown Pretty \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luu met the woman in the Jade shoes a couple of months later. Her name is Man Ta and she became the poster child for \u003cem>Chinatown Pretty\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project started as a \u003ca href=\"http://www.thebolditalic.com/articles/4703-chinatown-sartorialist\" target=\"_blank\" rel=\"noopener\">single article\u003c/a> for\u003ci> the Bold Italic,\u003c/i> a local culture website. Then \u003ca href=\"http://www.chinatowncdc.org/\" target=\"_blank\" rel=\"noopener\">the Chinatown Community Development Center\u003c/a> (CCDC) caught wind of it.\u003c/p>\n\u003cp>“Somehow we landed on their website and we said, ‘gee this is interesting!’ says Cathie Lam, senior community organizer for CCDC. “We kinda hit a pot of gold!” \u003c/p>\n\u003cp>The CCDC asked Luu and Lo to turn \u003cem>Chinatown Pretty\u003c/em> into a photo exhibition and blog. This is in conjunction with a shop Chinatown initiative, which aims to boost business during the holiday season. Lam says the project comes at a time when neighborhood culture and commerce are being threatened by development. \u003c/p>\n\u003cfigure id=\"attachment_11224959\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1.jpg\" rel=\"attachment wp-att-11224959\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-1180x885.jpg\" alt=\"Photographer Andria Lo in Chinatown\" width=\"640\" height=\"480\" class=\"size-large wp-image-11224959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photographer Andria Lo in Chinatown \u003ccite>(Photo: Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The commerce has been affected by the construction especially along Stockton street,” Lam says.\u003c/p>\n\u003cfigure id=\"attachment_11152191\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Julie-Fong.jpg\" rel=\"attachment wp-att-11152191\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Julie-Fong-400x600.jpg\" alt=\"Julie Fong wears a handmade corduroy top. She’s been living in Chinatown for over 50 years.\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-11152191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Julie-Fong.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Julie Fong wears a handmade corduroy top. She’s been living in Chinatown for over 50 years. \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lam thinks fashion can help draw attention to the personality of the neighborhood.\u003c/p>\n\u003cp>“You know fashion is a very common commodity, or a common thread to help people to see behind all the neon signs, that there are human beings living in Chinatown very actively,” Lam says.\u003c/p>\n\u003cp>“What I like about Chinatown culture and the seniors that live here is that they are out there,” Luu says. “A lot of people are 80 plus and more active than we are. And can actually can outrun us.” \u003c/p>\n\u003cp>Both Luu and Lo are Asian, but neither speaks Cantonese, so they usually hit the streets of Chinatown accompanied by a translator. Every weekend they ask dozens of people to share their story and pose for a picture. But for every “yes”, they get about ten “no’s.”\u003c/p>\n\u003cfigure id=\"attachment_11224961\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2.jpg\" rel=\"attachment wp-att-11224961\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-1180x885.jpg\" alt=\"Writer Valerie Luu of Chinatown Pretty\" width=\"640\" height=\"480\" class=\"size-large wp-image-11224961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Chinatown-Pretty-2-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Writer Valerie Luu of Chinatown Pretty \u003ccite>(Photo: Jessica Placzek/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re keeping a log of common excuses,” Lo says. “I’m going grocery shopping right now; my knees hurt; I can’t hear very well. It’s really rewarding when we are able to connect and get their story.”\u003c/p>\n\u003cfigure id=\"attachment_11152192\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Joyce-Wing.jpg\" rel=\"attachment wp-att-11152192\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Joyce-Wing-400x600.jpg\" alt=\"A photo of Joyce Wing from the Chinatown Pretty blog.\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-11152192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Joyce-Wing-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Joyce-Wing-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Joyce-Wing-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Joyce-Wing.jpg 1080w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A photo of Joyce Wing from the Chinatown Pretty blog \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project bears some similarity to \u003cem>\u003ca href=\"http://accidentalchinesehipsters.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Accidental Chinese Hipster\u003c/a>, \u003c/em>a blog that pokes fun at Asian fashion and its likeness to hipster style. Luu and Lo say their project is different. \u003cem>Chinatown Pretty\u003c/em> focuses on beautiful portraits \u003cem>and\u003c/em> subject interviews. \u003cspan style=\"font-weight: 400\">Lo says hearing people’s stories is as important as taking stock of their style.\u003c/span>\u003c/p>\n\u003cp>“We often ask them how did you come to America?” Lo says. “And a lot of times they’ll talk about ‘oh well we made this shirt because we worked in a factory 30 years ago.’ It has revealed a lot about the history of Chinatown. And the immigration stories are really interesting.”\u003c/p>\n\u003cp>The women hope to expand the project beyond San Francisco. Their dream is to visit Chinatowns across the country — from Los Angeles to New York.\u003c/p>\n\u003cfigure id=\"attachment_11152189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit.jpg\" rel=\"attachment wp-att-11152189\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit-800x533.jpg\" alt=\"The opening of Chinatown Pretty exhibit.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11152189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Chinatown-Pretty-Exhibit.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The opening of Chinatown Pretty exhibit \u003ccite>(Courtesy: Chinatown Pretty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Chinatown Pretty exhibition is on view in San Francisco’s Chinatown at 41 Ross Alley through February 28, 2016. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Parks Commission Looking at Three Bids for Palace of Fine Arts Project",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/231903461″ 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>San Francisco Recreation and Parks Commission held a public meeting at City Hall Thursday to solidify the top three proposed redevelopment concepts for the Palace of Fine Arts. The winner of the redevelopment bid will score a 55-year lease to the historic San Francisco arts center that was built 100 years ago as part of the Panama-Pacific Exposition in 1915.\u003c/p>\n\u003cp>The top bids include two that plan to turn the Palace of Fine Arts into a hotel, and one that proposes it remake the iconic building into a fine-dining restaurant and educational museum. Representatives from all three perspective projects attended the meeting at City Hall Thursday as well as a sizeable crowd who protested the Commission’s rejection of proposals aimed to preserve the Palace of Fine Arts’ cultural legacy.\u003c/p>\n\u003cp>Julie Mushet, Executive Director of The Center for Global Arts and Cultures, the non-profit that hosts of the annual Ethnic Dance Festival, submitted a proposal that aimed to turn the Palace of Fine Arts into a multi-cultural arts center. Their proposal was rejected by the Park and Recs Committee and on Thursday, Mushet asked that it be reconsidered and added to the final list of redevelopment contenders. \u003c/p>\n\u003cp>“Our proposal is really the only one that will attract and provide the necessary access to the most expansive and inclusive definition of community,” Mushet told KQED Arts. “One of the proposals that’s a finalist said that they’ll make $9 million in profit a year off of the theater. So it really raises the question that if there’s a hotel and a theater, is this Las Vegas? Is this going to be Cirque Du Soleil?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Equity Community Builders (ECB), the development firm that holds one of the final bids, has prior experience refashioning historic Bay Area buildings. In 2008, ECB transformed Fort Baker’s old army barracks into the chic Cavallo Point Lodge in Sausalito. Ben Golvin, one of ECB’s lead developers, says their plan is to remodel the Palace of Fine Arts into a hotel built above “an arcade devoted to the arts and the maker culture in San Francisco.”\u003c/p>\n\u003cp>While Park and Rec Commissioners Mark Buell and Gloria Bonilla both voted Thursday to uphold the decision to name only three top bids, Julie Mushet said she will continue to fight for her proposal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> An online petition asking the city to \u003ca href=\"http://ww2.kqed.org/arts/2015/11/10/furor-growing-online-over-proposed-plans-for-palace-of-fine-arts/\" target=\"_blank\" rel=\"noopener\">reject all three proposals is gaining popularity\u003c/a>, which you can read about on \u003ca href=\"http://ww2.kqed.org/arts/2015/11/10/furor-growing-online-over-proposed-plans-for-palace-of-fine-arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>. \u003c/p>\n\n",
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"excerpt": "San Francisco Recreation and Parks Commission held a public meeting at City Hall Thursday to solidify the top three proposed redevelopment concepts for the Palace of Fine Arts.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/231903461″&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/231903461″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>San Francisco Recreation and Parks Commission held a public meeting at City Hall Thursday to solidify the top three proposed redevelopment concepts for the Palace of Fine Arts. The winner of the redevelopment bid will score a 55-year lease to the historic San Francisco arts center that was built 100 years ago as part of the Panama-Pacific Exposition in 1915.\u003c/p>\n\u003cp>The top bids include two that plan to turn the Palace of Fine Arts into a hotel, and one that proposes it remake the iconic building into a fine-dining restaurant and educational museum. Representatives from all three perspective projects attended the meeting at City Hall Thursday as well as a sizeable crowd who protested the Commission’s rejection of proposals aimed to preserve the Palace of Fine Arts’ cultural legacy.\u003c/p>\n\u003cp>Julie Mushet, Executive Director of The Center for Global Arts and Cultures, the non-profit that hosts of the annual Ethnic Dance Festival, submitted a proposal that aimed to turn the Palace of Fine Arts into a multi-cultural arts center. Their proposal was rejected by the Park and Recs Committee and on Thursday, Mushet asked that it be reconsidered and added to the final list of redevelopment contenders. \u003c/p>\n\u003cp>“Our proposal is really the only one that will attract and provide the necessary access to the most expansive and inclusive definition of community,” Mushet told KQED Arts. “One of the proposals that’s a finalist said that they’ll make $9 million in profit a year off of the theater. So it really raises the question that if there’s a hotel and a theater, is this Las Vegas? Is this going to be Cirque Du Soleil?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Equity Community Builders (ECB), the development firm that holds one of the final bids, has prior experience refashioning historic Bay Area buildings. In 2008, ECB transformed Fort Baker’s old army barracks into the chic Cavallo Point Lodge in Sausalito. Ben Golvin, one of ECB’s lead developers, says their plan is to remodel the Palace of Fine Arts into a hotel built above “an arcade devoted to the arts and the maker culture in San Francisco.”\u003c/p>\n\u003cp>While Park and Rec Commissioners Mark Buell and Gloria Bonilla both voted Thursday to uphold the decision to name only three top bids, Julie Mushet said she will continue to fight for her proposal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> An online petition asking the city to \u003ca href=\"http://ww2.kqed.org/arts/2015/11/10/furor-growing-online-over-proposed-plans-for-palace-of-fine-arts/\" target=\"_blank\" rel=\"noopener\">reject all three proposals is gaining popularity\u003c/a>, which you can read about on \u003ca href=\"http://ww2.kqed.org/arts/2015/11/10/furor-growing-online-over-proposed-plans-for-palace-of-fine-arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We chat with 'Project Runway' finalist Candice Cuoco about her dark past, motherhood and what Tim Gunn is really like.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2015/11/Episode9.mp3\" title=\"Candice Cuoco of 'Project Runway'\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, we're joined by \u003ca href=\"http://ccuoco.com/\" target=\"_blank\">Candice Cuoco\u003c/a>, \u003cem>Project Runway\u003c/em> finalist and bad ass Bay Area designer.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/tumblr_nwbz4wzIDq1tb8iyko1_500.gif\">\u003cimg class=\"aligncenter size-full wp-image-18836\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/tumblr_nwbz4wzIDq1tb8iyko1_500.gif\" alt=\"candice project runway\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp>We discussed how to follow your professional dreams while being a mother:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/beyonce_pregnant-1324503926.gif\">\u003cimg class=\"aligncenter size-full wp-image-18837\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/beyonce_pregnant-1324503926.gif\" alt=\"beyonce pregnant\" width=\"300\" height=\"188\">\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_18838\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/tumblr_lr6nhnWYYz1qe8o83o1_500.jpg\">\u003cimg class=\"size-full wp-image-18838\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/tumblr_lr6nhnWYYz1qe8o83o1_500.jpg\" alt=\"Photo: Tumblr\" width=\"500\" height=\"358\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/11/tumblr_lr6nhnWYYz1qe8o83o1_500.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/tumblr_lr6nhnWYYz1qe8o83o1_500-400x286.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://librabaybee.tumblr.com/post/9944409721/strong-enough-to-bear-children-then-get-back-to\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>Candice told us what Tim Gunn is really like:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/tumblr_lfr4defqBZ1qappy8.gif\">\u003cimg class=\"aligncenter size-full wp-image-18840\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/tumblr_lfr4defqBZ1qappy8.gif\" alt=\"tim gunn holla\" width=\"338\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/anigif_enhanced-7445-1440524993-23.gif\">\u003cimg class=\"aligncenter size-full wp-image-18841\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/anigif_enhanced-7445-1440524993-23.gif\" alt=\"tim gunn\" width=\"400\" height=\"224\">\u003c/a>\u003c/p>\n\u003cp>We shared stories about our top fashion idols from television and movies:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/clarissastyle.gif\">\u003cimg class=\"aligncenter size-full wp-image-18839\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/clarissastyle.gif\" alt=\"clarissa explains it all\" width=\"440\" height=\"337\">\u003c/a>\u003c/p>\n\u003cp>And we capped things off with a song of Candice's choice: Beyonce's \"Run the World (Girls)\":\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VBmMU_iwe6U\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, we're joined by \u003ca href=\"http://ccuoco.com/\" target=\"_blank\">Candice Cuoco\u003c/a>, \u003cem>Project Runway\u003c/em> finalist and bad ass Bay Area designer.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/tumblr_nwbz4wzIDq1tb8iyko1_500.gif\">\u003cimg class=\"aligncenter size-full wp-image-18836\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/tumblr_nwbz4wzIDq1tb8iyko1_500.gif\" alt=\"candice project runway\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp>We discussed how to follow your professional dreams while being a mother:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/beyonce_pregnant-1324503926.gif\">\u003cimg class=\"aligncenter size-full wp-image-18837\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/beyonce_pregnant-1324503926.gif\" alt=\"beyonce pregnant\" width=\"300\" height=\"188\">\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_18838\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/tumblr_lr6nhnWYYz1qe8o83o1_500.jpg\">\u003cimg class=\"size-full wp-image-18838\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/tumblr_lr6nhnWYYz1qe8o83o1_500.jpg\" alt=\"Photo: Tumblr\" width=\"500\" height=\"358\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/11/tumblr_lr6nhnWYYz1qe8o83o1_500.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/tumblr_lr6nhnWYYz1qe8o83o1_500-400x286.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://librabaybee.tumblr.com/post/9944409721/strong-enough-to-bear-children-then-get-back-to\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>Candice told us what Tim Gunn is really like:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/tumblr_lfr4defqBZ1qappy8.gif\">\u003cimg class=\"aligncenter size-full wp-image-18840\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/tumblr_lfr4defqBZ1qappy8.gif\" alt=\"tim gunn holla\" width=\"338\" height=\"200\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/anigif_enhanced-7445-1440524993-23.gif\">\u003cimg class=\"aligncenter size-full wp-image-18841\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/anigif_enhanced-7445-1440524993-23.gif\" alt=\"tim gunn\" width=\"400\" height=\"224\">\u003c/a>\u003c/p>\n\u003cp>We shared stories about our top fashion idols from television and movies:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/clarissastyle.gif\">\u003cimg class=\"aligncenter size-full wp-image-18839\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/clarissastyle.gif\" alt=\"clarissa explains it all\" width=\"440\" height=\"337\">\u003c/a>\u003c/p>\n\u003cp>And we capped things off with a song of Candice's choice: Beyonce's \"Run the World (Girls)\":\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/VBmMU_iwe6U'\n title='//www.youtube.com/embed/VBmMU_iwe6U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dress-Up Time: Six Costume Ideas From the Twisted Minds of KQED",
"headTitle": "Dress-Up Time: Six Costume Ideas From the Twisted Minds of KQED | KQED",
"content": "\u003cp>Halloween is a serious holiday for those who love pretending to be someone else, and many of us here at KQED are no slouches when it comes to dressing up. After the popularity of last year’s \u003ca href=\"http://ww2.kqed.org/arts/2014/10/30/six-cheap-and-easy-bay-area-halloween-costumes/\" target=\"_blank\" rel=\"noopener\">“Six Cheap and Easy Bay Area Halloween Costumes,”\u003c/a> we decided this year we’d do another costume guide, but not be so strict with the Bay Area connection. After roping in some of the most creative folks in the building and racking our brains, this is what we came up with. (And we’re quite proud, though some of us shouldn’t be…)\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11028163\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Rosie-Riveter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11028163\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Rosie-Riveter-800x533.jpg\" alt=\"Emma Silvers as Rosie the Riveter\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Rosie-Riveter-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Rosie-Riveter-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Rosie-Riveter-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Rosie-Riveter-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Rosie-Riveter.jpg 1244w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Emma Silvers as Rosie the Riveter. \u003ccite>(Photo: Christina White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Rosie the Riveter\u003c/h3>\n\u003cp>At an event in Richmond a few months ago, \u003ca href=\"http://ww2.kqed.org/arts/2015/08/27/watch-a-thousand-rosie-the-riveters-set-a-world-record-in-richmond/\" target=\"_blank\" rel=\"noopener\">over a thousand women dressed up as “Rosie the Riveter,”\u003c/a> the powerful female icon created during World War II to motivate hundreds of thousands of ladies working in the factories while the men were off fighting overseas. If you missed the event but want to celebrate the accomplishments and sacrifices of American women 70 years ago, grabbing a few items from the back of your closet or your local thrift store makes it easy.\u003c/p>\n\u003ch5>\u003cb>What you’ll need:\u003c/b>\u003cbr>\n• Dark blue button-up shirt and slacks\u003cbr>\n• Red bandanna (preferably with white polka dots), knee socks and lipstick\u003cbr>\n• Kick-ass attitude\u003c/h5>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11035386\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Repub-candidates.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11035386\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Repub-candidates-800x533.jpg\" alt=\"Manuel Ojeda and Benjamin Castle are just waiting for their moment\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Repub-candidates-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Repub-candidates-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Repub-candidates-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Repub-candidates-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Repub-candidates.jpg 1244w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Manuel Ojeda and Benjamin Castle are just waiting for their moment \u003ccite>(Photo: Christina White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Republican Debate\u003c/h3>\n\u003cp>We all know them: people who basically need their costume ideas handed to them. For whatever reason — a lack of creativity, laziness, procrastination — they just can’t seem to get themselves together before the big night. Why not unite them all for one concept that just about anyone can get behind? A nice suit, a gray box with a logo and a microphone made from a straw, and you can make anyone look practically \u003ci>presidential.\u003c/i> It’s up to you if you want to impersonate a real front-runner or create your own dark horse candidate; the field is wide open. Just make sure you have enough people so you can take over the party.\u003cbr>\n\u003cbr clear=\"all\">\u003c/p>\n\u003cfigure id=\"attachment_11035391\" class=\"wp-caption alignleft\" style=\"max-width: 699px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Repub-debate21.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11035391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Repub-debate21-699x600.jpg\" alt=\"Marie K. Lee and David Marks can't seem to agree on anything\" width=\"699\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Repub-debate21-699x600.jpg 699w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Repub-debate21-400x343.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Repub-debate21.jpg 903w\" sizes=\"(max-width: 699px) 100vw, 699px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marie K. Lee and David Marks can’t seem to agree on anything. \u003ccite>(Photo: Christina White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch5>\u003cb>What you’ll need:\u003c/b>\u003cbr>\n• Cardboard boxes\u003cbr>\n• Black rope\u003cbr>\n• Straws\u003cbr>\n• Jumbo cotton balls\u003cbr>\n• Grey paint\u003cbr>\n• Black paint\u003cbr>\n• Paintbrushes\u003cbr>\n• Printout of presidential debate signs\u003cbr>\n• Dark suits\u003cbr>\n• Red ties\u003cbr>\n• Unstoppable drive\u003c/h5>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11029998\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Log-Lady1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11029998\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Log-Lady1-786x1180.jpg\" alt=\"Debbie Jue as the Log Lady from 'Twin Peaks'\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Log-Lady1-786x1180.jpg 786w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Log-Lady1-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Log-Lady1.jpg 829w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Debbie Jue as the Log Lady from ‘Twin Peaks.’ \u003ccite>(Photo: Christina White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Log Lady\u003c/h3>\n\u003cp>Sadly, 2015 was the year actor \u003ca href=\"http://variety.com/2015/tv/news/catherine-coulson-log-lady-twin-peaks-dies-dead-1201604367/\" target=\"_blank\" rel=\"noopener\">Catherine Coulson\u003c/a> died at the age of 71. Though she began working with David Lynch as an assistant director on \u003ci>Eraserhead,\u003c/i> she would enter our collective consciousness as the Log Lady in Lynch’s \u003ci>Twin Peaks,\u003c/i> which \u003cem>TV Guide \u003c/em> lists as one of the 50 greatest television shows of all time. Coulson’s character was one of the best parts of the show: if you’re not familiar with her, she looked like a librarian who shopped at a thrift store, and carried around a log that spoke to her. (Yes, it was weird as it sounds.) This costume is a tribute to a fantastic television character, and hopefully will inspire people to check out the show.\u003c/p>\n\u003ch5>\u003cb>What you’ll need:\u003c/b>\u003cbr>\n• Red glasses\u003cbr>\n• Brown wig\u003cbr>\n• A crazy button-up brown sweater\u003cbr>\n• A log (or in this case, log pillow)\u003cbr>\n• A list of cryptic messages\u003c/h5>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11035497\" class=\"wp-caption alignleft\" style=\"max-width: 698px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/conference-attendee.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11035497\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/conference-attendee-698x600.jpg\" alt=\"Christina White taking a business call between Dreamforce panels\" width=\"698\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/conference-attendee-698x600.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/conference-attendee-400x344.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/conference-attendee.jpg 755w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Christina White taking a business call between panels at Dreamforce. \u003ccite>(Photo: Debbie Jue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Tech Conference Attendee\u003c/h3>\n\u003cp>You’ve seen them around; heck, you’ve probably been one on a few occasions. Attending a conference is such an overwhelming experience that you actually become something else just by doing it. No one can just be themselves when attending a conference — the badge stays on through the whole thing. But it’s best to embrace the switch anyways, especially since conferences are the equivalent to vacations for many of us.\u003c/p>\n\u003ch5>\u003cb>What you’ll need:\u003c/b>\u003cbr>\n• Lots of lanyards with badges and some electronics\u003cbr>\n• Laptop bags\u003cbr>\n• Some nicer work clothes\u003cbr>\n• A constant desire to get a drink\u003c/h5>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11030104\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Sports-FanUSE2.gif\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11030104\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Sports-FanUSE2-786x1180.gif\" alt=\"The author, as a rabid San Francisco sports fan\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Sports-FanUSE2-786x1180.gif 786w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Sports-FanUSE2-400x600.gif 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The author, as a rabid San Francisco sports fan. [Click to see working gif.] \u003ccite>(Photo: Christina White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Rabid SF Sports Fan\u003c/h3>\n\u003cp>Well, the San Francisco Giants didn’t make it to the World Series and the 49ers are looking like they need a complete overhaul (front office first, please), but that doesn’t mean you can’t let your fandom fly by painting your face, ripping off your shirt and letting loose in the Mission District. And since burning furniture seems to be par-for-the-course when it comes to celebrating big wins in San Francisco, why not strap on a burning couch for flair? \u003ci>(Click on the photo to see a GIF of the sports fan in action!)\u003c/i>\u003c/p>\n\u003ch5>\u003cb>What you’ll need:\u003c/b>\u003cbr>\n• Cardboard box\u003cbr>\n• Facepaint (probably need more than just cheap makeup crayons)\u003cbr>\n• Construction paper\u003cbr>\n• Sweet beer gut\u003c/h5>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11029997\" class=\"wp-caption alignleft\" style=\"max-width: 438px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DJ-Spock.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11029997\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DJ-Spock-438x600.jpg\" alt=\"Tim Olson is playing a logical set of jams\" width=\"438\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DJ-Spock-438x600.jpg 438w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DJ-Spock-400x548.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DJ-Spock.jpg 828w\" sizes=\"(max-width: 438px) 100vw, 438px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tim Olson playing a logical set of jams. \u003ccite>(Photo: Christina White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>DJ Spock\u003c/h3>\n\u003cp>Does everything need to be explained? Can’t some things just exist?\u003c/p>\n\u003cp>By the way, if you think this is good but you’re not a \u003ci>Star Trek\u003c/i> fan, you might appreciate what Tim did for a costume \u003ca href=\"https://www.flickr.com/photos/timmyo/10603150406/\" target=\"_blank\" rel=\"noopener\">back in 2013\u003c/a>.\u003c/p>\n\u003ch5>\u003cb>What you’ll need:\u003c/b>\u003cbr>\n• Turntable\u003cbr>\n• Historically accurate \u003ci>Star Trek\u003c/i> uniform\u003cbr>\n• Pair of headphones\u003cbr>\n• Vulcan ears\u003cbr>\n• A desire to be bereft of emotion\u003c/h5>\n\u003c/div>\n\u003cp>\u003ci>This story would not have happened without the help of creative thinkers Christina White, Marie K. Lee, Debbie Jue, Tim Olson and Kristin Farr; thank you for sharing. Also, we’d like to give a special thanks to our models: Emma Silvers, Benjamin Castle, David Marks, Joshua Maloney and Manuel Ojeda.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "It's that time of year when imagination runs wild, and we here at KQED let our creativity loose in order to come up with six fun costume ideas for those who don't like buying their Halloween outfits at a store.",
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"description": "It's that time of year when imagination runs wild, and we here at KQED let our creativity loose in order to come up with six fun costume ideas for those who don't like buying their Halloween outfits at a store.",
"title": "Dress-Up Time: Six Costume Ideas From the Twisted Minds of KQED | KQED",
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"headline": "Dress-Up Time: Six Costume Ideas From the Twisted Minds of KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Halloween is a serious holiday for those who love pretending to be someone else, and many of us here at KQED are no slouches when it comes to dressing up. After the popularity of last year’s \u003ca href=\"http://ww2.kqed.org/arts/2014/10/30/six-cheap-and-easy-bay-area-halloween-costumes/\" target=\"_blank\" rel=\"noopener\">“Six Cheap and Easy Bay Area Halloween Costumes,”\u003c/a> we decided this year we’d do another costume guide, but not be so strict with the Bay Area connection. After roping in some of the most creative folks in the building and racking our brains, this is what we came up with. (And we’re quite proud, though some of us shouldn’t be…)\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11028163\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Rosie-Riveter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11028163\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Rosie-Riveter-800x533.jpg\" alt=\"Emma Silvers as Rosie the Riveter\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Rosie-Riveter-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Rosie-Riveter-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Rosie-Riveter-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Rosie-Riveter-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Rosie-Riveter.jpg 1244w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Emma Silvers as Rosie the Riveter. \u003ccite>(Photo: Christina White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Rosie the Riveter\u003c/h3>\n\u003cp>At an event in Richmond a few months ago, \u003ca href=\"http://ww2.kqed.org/arts/2015/08/27/watch-a-thousand-rosie-the-riveters-set-a-world-record-in-richmond/\" target=\"_blank\" rel=\"noopener\">over a thousand women dressed up as “Rosie the Riveter,”\u003c/a> the powerful female icon created during World War II to motivate hundreds of thousands of ladies working in the factories while the men were off fighting overseas. If you missed the event but want to celebrate the accomplishments and sacrifices of American women 70 years ago, grabbing a few items from the back of your closet or your local thrift store makes it easy.\u003c/p>\n\u003ch5>\u003cb>What you’ll need:\u003c/b>\u003cbr>\n• Dark blue button-up shirt and slacks\u003cbr>\n• Red bandanna (preferably with white polka dots), knee socks and lipstick\u003cbr>\n• Kick-ass attitude\u003c/h5>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11035386\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Repub-candidates.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11035386\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Repub-candidates-800x533.jpg\" alt=\"Manuel Ojeda and Benjamin Castle are just waiting for their moment\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Repub-candidates-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Repub-candidates-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Repub-candidates-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Repub-candidates-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Repub-candidates.jpg 1244w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Manuel Ojeda and Benjamin Castle are just waiting for their moment \u003ccite>(Photo: Christina White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Republican Debate\u003c/h3>\n\u003cp>We all know them: people who basically need their costume ideas handed to them. For whatever reason — a lack of creativity, laziness, procrastination — they just can’t seem to get themselves together before the big night. Why not unite them all for one concept that just about anyone can get behind? A nice suit, a gray box with a logo and a microphone made from a straw, and you can make anyone look practically \u003ci>presidential.\u003c/i> It’s up to you if you want to impersonate a real front-runner or create your own dark horse candidate; the field is wide open. Just make sure you have enough people so you can take over the party.\u003cbr>\n\u003cbr clear=\"all\">\u003c/p>\n\u003cfigure id=\"attachment_11035391\" class=\"wp-caption alignleft\" style=\"max-width: 699px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Repub-debate21.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11035391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Repub-debate21-699x600.jpg\" alt=\"Marie K. Lee and David Marks can't seem to agree on anything\" width=\"699\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Repub-debate21-699x600.jpg 699w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Repub-debate21-400x343.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Repub-debate21.jpg 903w\" sizes=\"(max-width: 699px) 100vw, 699px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marie K. Lee and David Marks can’t seem to agree on anything. \u003ccite>(Photo: Christina White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch5>\u003cb>What you’ll need:\u003c/b>\u003cbr>\n• Cardboard boxes\u003cbr>\n• Black rope\u003cbr>\n• Straws\u003cbr>\n• Jumbo cotton balls\u003cbr>\n• Grey paint\u003cbr>\n• Black paint\u003cbr>\n• Paintbrushes\u003cbr>\n• Printout of presidential debate signs\u003cbr>\n• Dark suits\u003cbr>\n• Red ties\u003cbr>\n• Unstoppable drive\u003c/h5>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11029998\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Log-Lady1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11029998\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Log-Lady1-786x1180.jpg\" alt=\"Debbie Jue as the Log Lady from 'Twin Peaks'\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Log-Lady1-786x1180.jpg 786w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Log-Lady1-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Log-Lady1.jpg 829w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Debbie Jue as the Log Lady from ‘Twin Peaks.’ \u003ccite>(Photo: Christina White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Log Lady\u003c/h3>\n\u003cp>Sadly, 2015 was the year actor \u003ca href=\"http://variety.com/2015/tv/news/catherine-coulson-log-lady-twin-peaks-dies-dead-1201604367/\" target=\"_blank\" rel=\"noopener\">Catherine Coulson\u003c/a> died at the age of 71. Though she began working with David Lynch as an assistant director on \u003ci>Eraserhead,\u003c/i> she would enter our collective consciousness as the Log Lady in Lynch’s \u003ci>Twin Peaks,\u003c/i> which \u003cem>TV Guide \u003c/em> lists as one of the 50 greatest television shows of all time. Coulson’s character was one of the best parts of the show: if you’re not familiar with her, she looked like a librarian who shopped at a thrift store, and carried around a log that spoke to her. (Yes, it was weird as it sounds.) This costume is a tribute to a fantastic television character, and hopefully will inspire people to check out the show.\u003c/p>\n\u003ch5>\u003cb>What you’ll need:\u003c/b>\u003cbr>\n• Red glasses\u003cbr>\n• Brown wig\u003cbr>\n• A crazy button-up brown sweater\u003cbr>\n• A log (or in this case, log pillow)\u003cbr>\n• A list of cryptic messages\u003c/h5>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11035497\" class=\"wp-caption alignleft\" style=\"max-width: 698px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/conference-attendee.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11035497\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/conference-attendee-698x600.jpg\" alt=\"Christina White taking a business call between Dreamforce panels\" width=\"698\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/conference-attendee-698x600.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/conference-attendee-400x344.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/conference-attendee.jpg 755w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Christina White taking a business call between panels at Dreamforce. \u003ccite>(Photo: Debbie Jue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Tech Conference Attendee\u003c/h3>\n\u003cp>You’ve seen them around; heck, you’ve probably been one on a few occasions. Attending a conference is such an overwhelming experience that you actually become something else just by doing it. No one can just be themselves when attending a conference — the badge stays on through the whole thing. But it’s best to embrace the switch anyways, especially since conferences are the equivalent to vacations for many of us.\u003c/p>\n\u003ch5>\u003cb>What you’ll need:\u003c/b>\u003cbr>\n• Lots of lanyards with badges and some electronics\u003cbr>\n• Laptop bags\u003cbr>\n• Some nicer work clothes\u003cbr>\n• A constant desire to get a drink\u003c/h5>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11030104\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Sports-FanUSE2.gif\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11030104\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Sports-FanUSE2-786x1180.gif\" alt=\"The author, as a rabid San Francisco sports fan\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Sports-FanUSE2-786x1180.gif 786w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Sports-FanUSE2-400x600.gif 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The author, as a rabid San Francisco sports fan. [Click to see working gif.] \u003ccite>(Photo: Christina White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Rabid SF Sports Fan\u003c/h3>\n\u003cp>Well, the San Francisco Giants didn’t make it to the World Series and the 49ers are looking like they need a complete overhaul (front office first, please), but that doesn’t mean you can’t let your fandom fly by painting your face, ripping off your shirt and letting loose in the Mission District. And since burning furniture seems to be par-for-the-course when it comes to celebrating big wins in San Francisco, why not strap on a burning couch for flair? \u003ci>(Click on the photo to see a GIF of the sports fan in action!)\u003c/i>\u003c/p>\n\u003ch5>\u003cb>What you’ll need:\u003c/b>\u003cbr>\n• Cardboard box\u003cbr>\n• Facepaint (probably need more than just cheap makeup crayons)\u003cbr>\n• Construction paper\u003cbr>\n• Sweet beer gut\u003c/h5>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11029997\" class=\"wp-caption alignleft\" style=\"max-width: 438px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DJ-Spock.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11029997\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/DJ-Spock-438x600.jpg\" alt=\"Tim Olson is playing a logical set of jams\" width=\"438\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DJ-Spock-438x600.jpg 438w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DJ-Spock-400x548.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/DJ-Spock.jpg 828w\" sizes=\"(max-width: 438px) 100vw, 438px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tim Olson playing a logical set of jams. \u003ccite>(Photo: Christina White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>DJ Spock\u003c/h3>\n\u003cp>Does everything need to be explained? Can’t some things just exist?\u003c/p>\n\u003cp>By the way, if you think this is good but you’re not a \u003ci>Star Trek\u003c/i> fan, you might appreciate what Tim did for a costume \u003ca href=\"https://www.flickr.com/photos/timmyo/10603150406/\" target=\"_blank\" rel=\"noopener\">back in 2013\u003c/a>.\u003c/p>\n\u003ch5>\u003cb>What you’ll need:\u003c/b>\u003cbr>\n• Turntable\u003cbr>\n• Historically accurate \u003ci>Star Trek\u003c/i> uniform\u003cbr>\n• Pair of headphones\u003cbr>\n• Vulcan ears\u003cbr>\n• A desire to be bereft of emotion\u003c/h5>\n\u003c/div>\n\u003cp>\u003ci>This story would not have happened without the help of creative thinkers Christina White, Marie K. Lee, Debbie Jue, Tim Olson and Kristin Farr; thank you for sharing. Also, we’d like to give a special thanks to our models: Emma Silvers, Benjamin Castle, David Marks, Joshua Maloney and Manuel Ojeda.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/450009076/450175933\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Today, some kid named Marty McFly will arrive (or already has) in a flying car.\u003c/p>\n\u003cp>Oct. 21, 2015, is when the first act of \u003cem>Back to the Future Part II\u003c/em> is set. In the sequel, Marty McFly goes forth and back in time, and complications ensue. It’s a 2015 that’s different from the one we know now — but not that different.\u003c/p>\n\u003cp>On one hand, in the movie, electric cars quietly hum around the streets. We’ve got those. A hologram for \u003cem>Jaws 19\u003c/em> pops out of a theater marquee and freaks Marty out. You can find holograms like that on the Atlantic City Boardwalk. When bad guy Griff gets arrested for wrecking the clock tower near the lake? A drone takes his picture for \u003cem>USA Today\u003c/em>. And the Chicago Cubs, in the \u003cem>Back to the Future\u003c/em> universe, win the World Series in 2015. As of right now, they can still make that happen.\u003c/p>\n\u003cp>Of course, there’s a lot of stuff that \u003cem>Back to the Future Part II\u003c/em> doesn’t get right. Our cars don’t fly. Our shoes don’t tie themselves. Our clothes don’t blow dry themselves, either. And what we call “hoverboards” today don’t really hover, if we’re going to be honest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So what does a 1980s movie tell us about ourselves today in 2015? Does it say anything about how we got here?\u003c/p>\n\u003cp>Not really, according to Rick Carter. He was the production designer on the movie.\u003c/p>\n\u003cp>“It’s an attempt to stimulate in the time it was made. It wasn’t made for now.”\u003c/p>\n\u003cp>Carter’s got strong credits when it comes to time travel. He also worked on \u003cem>A.I. Artificial Intelligence,\u003c/em> \u003cem>Avatar\u003c/em> and the new \u003cem>Star Wars\u003c/em> movie.\u003c/p>\n\u003cp>Carter says time-travel stories are more about the time in which they were made. And what was big in the late ’80s when \u003cem>Back to the Future Part II\u003c/em> was made? Buying stuff.\u003c/p>\n\u003cp>“Not just product placement, but the branding of our culture,” says Carter. “This was no longer the hippie era where everything that was of corporations was being pushed to the side in terms of being hip or cool. It was a celebration of what the culture and the economy was creating.”\u003c/p>\n\u003cp>Like a hologram Ronald Reagan selling fast food.\u003c/p>\n\u003cp>It was, at least, a somewhat optimistic view of the future. More optimistic than, say, \u003cem>Blade Runner. \u003c/em>To Carter, creating the future wasn’t about predicting. It was about making the present seem better.\u003c/p>\n\u003cp>“That’s how we saw the holograms coming out of the movie theaters, or the litter bug that’s running around that’s positive, sweeping things up,” says Carter. “It was about projecting from a very exuberant sense we had at the time being young until now.”\u003c/p>\n\u003cp>That exuberance was tempered a bit, though. With some pointed jokes knocking nostalgia, the movie knew that the future wouldn’t be perfect. Or was it the past?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever. Nothing’s perfect. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Back+To+The+Future+Part+2%27%3A+Designing+A+Future+For+30+Years+Ago&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>American Apparel, the trendy clothing company perhaps best known for its racy, sexually charged ads, filed for Chapter 11 bankruptcy protection on Monday.\u003c/p>\n\u003cp>The made-in-the-U.S.A. clothing chain announced it had reached an agreement with 95 percent of its secured lenders to put in place what it is calling “a comprehensive transformation strategy to revitalize the business and brand.” The company says it will keep production and operations in the U.S.\u003c/p>\n\u003cp>The restructuring agreement, which the company says has been approved by its board of directors, will drastically reduce American Apparel’s debt and interest payments by eliminating more than $200 million of its bonds in exchange for equity interests in the reorganized company.\u003c/p>\n\u003cp>In a statement \u003ca href=\"http://investors.americanapparel.net/releasedetail.cfm?ReleaseID=935021\" target=\"_blank\" rel=\"noopener\">American Apparel Chief Executive Officer\u003c/a> Paula Schneider said:\u003c/p>\n\u003cblockquote>\n\u003cp>“This restructuring will enable American Apparel to become a stronger, more vibrant company. By improving our financial footing, we will be able to refocus our business efforts on the execution of our turnaround strategy as we look to create new and relevant products, launch new design and merchandising initiatives, invest in new stores, grow our e-commerce business, and create captivating new marketing campaigns that will help drive our business forward.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The Los Angeles-based company has been struggling since last year’s public ouster of its founder and chief executive officer. And NPR business correspondent Yuki Noguchi tells our Newscast unit:\u003c/p>\n\u003cblockquote>\n\u003cp>“American Apparel made its name with its basic cotton T-shirts and tank tops and its edgy, sexualized advertising. But the Los Angeles-based company has a large real estate footprint, and its sales have been in decline. Last year, the company also contended with a messy struggle to oust its founder and chief executive, Dov Charney. The company is trying to restructure with the backing of its creditors who would put up new capital. The company says the filing will not affect its retail operation, but it did not say whether it would eventually close stores.”\u003c/p>\n\u003c/blockquote>\n\u003cp>As the \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/06/19/323548153/american-apparel-ousts-its-controversial-founder-dov-charney\" target=\"_blank\" rel=\"noopener\">Two-Way reported last year\u003c/a>, the board of American Apparel voted to replace Charney in the wake of allegations against him. As we reported at the time, the company did not provide details of the complaints, but Charney had been the target of lawsuits alleging sexual misconduct.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.usatoday.com/story/money/2015/10/05/american-apparel-files-chapter-11-bankruptcy/73365964/\" target=\"_blank\" rel=\"noopener\">USA Today reports\u003c/a> that since his removal as CEO, Charney has sued American Apparel. The publication also reports the company has not held up well in the face of other competitors vying for young consumers.\u003c/p>\n\u003cblockquote>\n\u003cp>“American Apparel, which flirted with bankruptcy as early as 2011, has about 8,500 employees at six factories and 230 stores in the U.S. and 17 countries. The company famously bet its business model on clothing made in the U.S.\u003c/p>\n\u003cp>“The company said in a court filing that it plans to shed unprofitable stores, though it did not identify how many.\u003c/p>\n\u003cp>“American Apparel has slumped in competition with agile retailers such as H&M and Forever 21 that have appealed to Millennial consumers with cheaper, more fashionable products.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=American+Apparel%2C+Best+Known+For+Racy+Ads%2C+Files+For+Chapter+11+Bankruptcy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>American Apparel, the trendy clothing company perhaps best known for its racy, sexually charged ads, filed for Chapter 11 bankruptcy protection on Monday.\u003c/p>\n\u003cp>The made-in-the-U.S.A. clothing chain announced it had reached an agreement with 95 percent of its secured lenders to put in place what it is calling “a comprehensive transformation strategy to revitalize the business and brand.” The company says it will keep production and operations in the U.S.\u003c/p>\n\u003cp>The restructuring agreement, which the company says has been approved by its board of directors, will drastically reduce American Apparel’s debt and interest payments by eliminating more than $200 million of its bonds in exchange for equity interests in the reorganized company.\u003c/p>\n\u003cp>In a statement \u003ca href=\"http://investors.americanapparel.net/releasedetail.cfm?ReleaseID=935021\" target=\"_blank\" rel=\"noopener\">American Apparel Chief Executive Officer\u003c/a> Paula Schneider said:\u003c/p>\n\u003cblockquote>\n\u003cp>“This restructuring will enable American Apparel to become a stronger, more vibrant company. By improving our financial footing, we will be able to refocus our business efforts on the execution of our turnaround strategy as we look to create new and relevant products, launch new design and merchandising initiatives, invest in new stores, grow our e-commerce business, and create captivating new marketing campaigns that will help drive our business forward.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The Los Angeles-based company has been struggling since last year’s public ouster of its founder and chief executive officer. And NPR business correspondent Yuki Noguchi tells our Newscast unit:\u003c/p>\n\u003cblockquote>\n\u003cp>“American Apparel made its name with its basic cotton T-shirts and tank tops and its edgy, sexualized advertising. But the Los Angeles-based company has a large real estate footprint, and its sales have been in decline. Last year, the company also contended with a messy struggle to oust its founder and chief executive, Dov Charney. The company is trying to restructure with the backing of its creditors who would put up new capital. The company says the filing will not affect its retail operation, but it did not say whether it would eventually close stores.”\u003c/p>\n\u003c/blockquote>\n\u003cp>As the \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/06/19/323548153/american-apparel-ousts-its-controversial-founder-dov-charney\" target=\"_blank\" rel=\"noopener\">Two-Way reported last year\u003c/a>, the board of American Apparel voted to replace Charney in the wake of allegations against him. As we reported at the time, the company did not provide details of the complaints, but Charney had been the target of lawsuits alleging sexual misconduct.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.usatoday.com/story/money/2015/10/05/american-apparel-files-chapter-11-bankruptcy/73365964/\" target=\"_blank\" rel=\"noopener\">USA Today reports\u003c/a> that since his removal as CEO, Charney has sued American Apparel. The publication also reports the company has not held up well in the face of other competitors vying for young consumers.\u003c/p>\n\u003cblockquote>\n\u003cp>“American Apparel, which flirted with bankruptcy as early as 2011, has about 8,500 employees at six factories and 230 stores in the U.S. and 17 countries. The company famously bet its business model on clothing made in the U.S.\u003c/p>\n\u003cp>“The company said in a court filing that it plans to shed unprofitable stores, though it did not identify how many.\u003c/p>\n\u003cp>“American Apparel has slumped in competition with agile retailers such as H&M and Forever 21 that have appealed to Millennial consumers with cheaper, more fashionable products.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=American+Apparel%2C+Best+Known+For+Racy+Ads%2C+Files+For+Chapter+11+Bankruptcy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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