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"title": "Vivienne Westwood, Influential Fashion Maverick and Punk Icon, Dies at 81",
"headTitle": "Vivienne Westwood, Influential Fashion Maverick and Punk Icon, Dies at 81 | KQED",
"content": "\u003cp>Vivienne Westwood, an influential fashion maverick who played a key role in the punk movement, died Thursday at 81.\u003c/p>\n\u003cp>Westwood’s eponymous fashion house announced her death on social media platforms, saying she died peacefully. A cause of death was not disclosed.\u003c/p>\n\u003cp>“Vivienne continued to do the things she loved, up until the last moment, designing, working on her art, writing her book, and changing the world for the better,” the statement said. “She led an amazing life. Her innovation and impact over the last 60 years has been immense and will continue into the future.”\u003c/p>\n\u003cp>Westwood’s fashion career began in the 1970s with the punk explosion, when her radical approach to urban street style took the world by storm. But she went on to enjoy a long career highlighted by a string of triumphant runway shows in London, Paris, Milan and New York.\u003c/p>\n\u003cp>The name Westwood became synonymous with style and attitude even as she shifted focus from year to year. Her range was vast and her work was never predictable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As her stature grew, she seemed to transcend fashion, with her designs shown in museum collections throughout the world. The young woman who had scorned the British establishment eventually became one of its leading lights, and she used her elite position to lobby for environmental reforms even as she kept her hair dyed the bright shade of orange that became her trademark.\u003c/p>\n\u003cfigure id=\"attachment_13923142\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1200810788_crap.jpg\" alt='Older white woman with finger in mouth and other hand pointing to \"I love crap\" button' width=\"1200\" height=\"794\" class=\"size-full wp-image-13923142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-768x508.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dame Vivienne Westwood attends the Vivienne Westwood AW20/21 presentation and exhibition during London Fashion Week, February 2020 at London’s Serpentine Gallery. \u003ccite>(Dave Benett/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andrew Bolton, curator of the Costume Institute at the Metropolitan Museum of New York, said Westwood would be celebrated for pioneering the punk look, pairing a radical fashion approach with the anarchic punk sounds developed by the Sex Pistols, managed by her then-partner, Malcolm McLaren.\u003c/p>\n\u003cp>“They gave the punk movement a look, a style, and it was so radical it broke from anything in the past,” he said. “The ripped shirts, the safety pins, the provocative slogans. She introduced postmodernism. It was so influential from the mid-70s. The punk movement has never dissipated — it’s become part of our fashion vocabulary. It’s mainstream now.”\u003c/p>\n\u003cp>Westwood’s long career was full of contradictions: She was a lifelong rebel who was honored several times by Queen Elizabeth II. She dressed like a teenager even in her 60s and became an outspoken advocate of fighting global warming, warning of planetary doom if climate change was not controlled.\u003c/p>\n\u003cp>In her punk days, Westwood’s clothes were often intentionally shocking: T-shirts decorated with drawings of naked boys, and “bondage pants” with sadomasochistic overtones were standard fare in her popular London shops. But Westwood was able to make the transition from punk to haute couture without missing a beat, keeping her career going without stooping to self-caricature.\u003c/p>\n\u003cp>“She was always trying to reinvent fashion. Her work is provocative, it’s transgressive. It’s very much rooted in the English tradition of pastiche and irony and satire. She is very proud of her Englishness, and still she sends it up,” Bolton said.\u003c/p>\n\u003cp>One of those transgressive and contentious designs featured a swastika, an inverted image of Jesus Christ on the cross and the word “Destroy.” In an autobiography written with Ian Kelly, she said it was meant as part of a statement against politicians torturing people, citing Chile’s Augusto Pinochet. When asked if she regretted the swastika design in a 2009 interview with Time magazine, Westwood said no.\u003c/p>\n\u003cp>“I don’t, because we were just saying to the older generation, ‘We don’t accept your values or your taboos, and you’re all fascists,’” she responded.\u003c/p>\n\u003cfigure id=\"attachment_13923141\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1181802149_1200.jpg\" alt=\"Group of people walking, talking, carrying flags and two men wearing headdresses\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13923141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Benny Wenda, the founder of the Free West Papua Campaign and Chairman of the United Liberation Movement for West Papua politically exiled in the UK, Dame Vivienne Westwood and Joe Corré and Extinction Rebellion on their way to a protest action. \u003ccite>(Ollie Millington/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She approached her work with gusto in her early years, but over time seemed to tire of the clamor and buzz. After decades of designing, she sometimes spoke wistfully of moving beyond fashion so she could concentrate on environmental matters and educational projects.\u003c/p>\n\u003cp>“Fashion can be so boring,” she told The Associated Press after unveiling one of her new collections at a 2010 show. “I’m trying to find something else to do.” At the time, she was talking up plans to start a television series about art and science.\u003c/p>\n\u003cp>Her runway shows were always the most chic events, drawing stars from the glittery world of film, music, and television who wanted to bask in Westwood’s reflected glory. But still she spoke out against consumerism and conspicuous consumption, even urging people not to buy her expensive, beautifully made clothes.\u003c/p>\n\u003cp>“I just tell people, stop buying clothes,” she said. “Why not protect this gift of life while we have it? I don’t take the attitude that destruction is inevitable. Some of us would like to stop that and help people survive.”\u003c/p>\n\u003cp>Westwood was a self-taught designer with no formal fashion training. She told \u003cem>Marie Claire\u003c/em> that she learned how to make her own clothes as a teenager by following patterns. When she wanted to sell 1950s-style clothes at her first shop, she found old clothes in markets and took them apart to understand the cut and construction.\u003c/p>\n\u003cp>“It was not a very efficient way of making clothes, but it was a great way for me to build up my technique,” she told the magazine.\u003c/p>\n\u003cp>Westwood was born in the Derbyshire village of Glossop on April 8, 1941. Her family moved to London in 1957 and she attended art school for one term.\u003c/p>\n\u003cp>She met McLaren in the 1960s while working as a primary school teacher after separating from her first husband, Derek Westwood. She and McLaren opened a small shop on the King’s Road in Chelsea in 1971, the tail end of the “Swinging London” era ushered in by the Beatles and the Rolling Stones.\u003c/p>\n\u003cfigure id=\"attachment_13923140\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-592334364_1200.jpg\" alt=\"White man holds up peace sign, white woman drapes arm over his neck\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13923140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Malcolm McLaren and Vivienne Westwood outside Bow Street Magistrate Court after being remanded on bail for fighting in 1977. \u003ccite>(Bill Kennedy/Mirrorpix/Mirrorpix via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shop changed its name and focus several times, operating as “SEX” — Westwood and McLaren were fined in 1975 for an “indecent exhibition” there — and “World’s End” and “Seditionaries.”\u003c/p>\n\u003cp>“Vivienne is gone and the world is already a less interesting place. Love you Viv,” \u003ca href=\"https://twitter.com/ChrissieHynde/status/1608579881528623104\">tweeted Chrissie Hynde\u003c/a>, the frontwoman of the Pretenders and a former worker at the couple’s store.\u003c/p>\n\u003cp>Westwood moved into a fresh type of designing with her “Pirates” collection, exhibited in her first catwalk show in 1981. That breakthrough is credited with taking Westwood in a more traditional direction, showing her interest in incorporating historical British designs into contemporary clothes.\u003c/p>\n\u003cp>It was also an important step in an ongoing rapprochement between Westwood and the fashion world. The rebel eventually became one of its most celebrated stars, known for reinterpreting opulent dresses from the past and often finding inspiration in 18th century paintings.\u003c/p>\n\u003cp>But she still found ways to shock: Her Statue of Liberty corset in 1987 is remembered as the start of “underwear as outerwear” trend.\u003c/p>\n\u003cp>She eventually branched out into a range of business activities, including an alliance with Italian designer Giorgio Armani, and developed her ready-to-wear Red Label line, her more exclusive Gold Label line, a menswear collection and fragrances called Boudoir and Libertine. Westwood shops opened in New York, Hong Kong, Milan and several other major cities.\u003c/p>\n\u003cp>She was named designer of the year by the British Fashion Council in 1990 and 1991.\u003c/p>\n\u003cp>Her uneasy relationship with the British establishment is perhaps best exemplified by her 1992 trip to Buckingham Palace to receive an Order of the British Empire medal from Queen Elizabeth II: She wore no underwear, and posed for photographers in a way that made that abundantly clear.\u003c/p>\n\u003cp>Apparently the queen was not offended: Westwood was invited back to receive the even more auspicious designation of Dame Commander of the British Empire — the female equivalent of a knighthood — in 2006.\u003c/p>\n\u003cp>Westwood is survived by her second husband, Austrian-born Andreas Kronthaler, and her two sons.\u003c/p>\n\u003cp>The first, fashion photographer Ben Westwood, was her son with Derek Westwood. The second, Joe Corré — her son with McLaren — co-founded the upscale Agent Provocateur lingerie line.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Katz, a longtime correspondent for The Associated Press who died in 2020, was the principal writer of this obituary.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As her stature grew, she seemed to transcend fashion, with her designs shown in museum collections throughout the world. The young woman who had scorned the British establishment eventually became one of its leading lights, and she used her elite position to lobby for environmental reforms even as she kept her hair dyed the bright shade of orange that became her trademark.\u003c/p>\n\u003cfigure id=\"attachment_13923142\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1200810788_crap.jpg\" alt='Older white woman with finger in mouth and other hand pointing to \"I love crap\" button' width=\"1200\" height=\"794\" class=\"size-full wp-image-13923142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-768x508.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dame Vivienne Westwood attends the Vivienne Westwood AW20/21 presentation and exhibition during London Fashion Week, February 2020 at London’s Serpentine Gallery. \u003ccite>(Dave Benett/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andrew Bolton, curator of the Costume Institute at the Metropolitan Museum of New York, said Westwood would be celebrated for pioneering the punk look, pairing a radical fashion approach with the anarchic punk sounds developed by the Sex Pistols, managed by her then-partner, Malcolm McLaren.\u003c/p>\n\u003cp>“They gave the punk movement a look, a style, and it was so radical it broke from anything in the past,” he said. “The ripped shirts, the safety pins, the provocative slogans. She introduced postmodernism. It was so influential from the mid-70s. The punk movement has never dissipated — it’s become part of our fashion vocabulary. It’s mainstream now.”\u003c/p>\n\u003cp>Westwood’s long career was full of contradictions: She was a lifelong rebel who was honored several times by Queen Elizabeth II. She dressed like a teenager even in her 60s and became an outspoken advocate of fighting global warming, warning of planetary doom if climate change was not controlled.\u003c/p>\n\u003cp>In her punk days, Westwood’s clothes were often intentionally shocking: T-shirts decorated with drawings of naked boys, and “bondage pants” with sadomasochistic overtones were standard fare in her popular London shops. But Westwood was able to make the transition from punk to haute couture without missing a beat, keeping her career going without stooping to self-caricature.\u003c/p>\n\u003cp>“She was always trying to reinvent fashion. Her work is provocative, it’s transgressive. It’s very much rooted in the English tradition of pastiche and irony and satire. She is very proud of her Englishness, and still she sends it up,” Bolton said.\u003c/p>\n\u003cp>One of those transgressive and contentious designs featured a swastika, an inverted image of Jesus Christ on the cross and the word “Destroy.” In an autobiography written with Ian Kelly, she said it was meant as part of a statement against politicians torturing people, citing Chile’s Augusto Pinochet. When asked if she regretted the swastika design in a 2009 interview with Time magazine, Westwood said no.\u003c/p>\n\u003cp>“I don’t, because we were just saying to the older generation, ‘We don’t accept your values or your taboos, and you’re all fascists,’” she responded.\u003c/p>\n\u003cfigure id=\"attachment_13923141\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1181802149_1200.jpg\" alt=\"Group of people walking, talking, carrying flags and two men wearing headdresses\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13923141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Benny Wenda, the founder of the Free West Papua Campaign and Chairman of the United Liberation Movement for West Papua politically exiled in the UK, Dame Vivienne Westwood and Joe Corré and Extinction Rebellion on their way to a protest action. \u003ccite>(Ollie Millington/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She approached her work with gusto in her early years, but over time seemed to tire of the clamor and buzz. After decades of designing, she sometimes spoke wistfully of moving beyond fashion so she could concentrate on environmental matters and educational projects.\u003c/p>\n\u003cp>“Fashion can be so boring,” she told The Associated Press after unveiling one of her new collections at a 2010 show. “I’m trying to find something else to do.” At the time, she was talking up plans to start a television series about art and science.\u003c/p>\n\u003cp>Her runway shows were always the most chic events, drawing stars from the glittery world of film, music, and television who wanted to bask in Westwood’s reflected glory. But still she spoke out against consumerism and conspicuous consumption, even urging people not to buy her expensive, beautifully made clothes.\u003c/p>\n\u003cp>“I just tell people, stop buying clothes,” she said. “Why not protect this gift of life while we have it? I don’t take the attitude that destruction is inevitable. Some of us would like to stop that and help people survive.”\u003c/p>\n\u003cp>Westwood was a self-taught designer with no formal fashion training. She told \u003cem>Marie Claire\u003c/em> that she learned how to make her own clothes as a teenager by following patterns. When she wanted to sell 1950s-style clothes at her first shop, she found old clothes in markets and took them apart to understand the cut and construction.\u003c/p>\n\u003cp>“It was not a very efficient way of making clothes, but it was a great way for me to build up my technique,” she told the magazine.\u003c/p>\n\u003cp>Westwood was born in the Derbyshire village of Glossop on April 8, 1941. Her family moved to London in 1957 and she attended art school for one term.\u003c/p>\n\u003cp>She met McLaren in the 1960s while working as a primary school teacher after separating from her first husband, Derek Westwood. She and McLaren opened a small shop on the King’s Road in Chelsea in 1971, the tail end of the “Swinging London” era ushered in by the Beatles and the Rolling Stones.\u003c/p>\n\u003cfigure id=\"attachment_13923140\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-592334364_1200.jpg\" alt=\"White man holds up peace sign, white woman drapes arm over his neck\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13923140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Malcolm McLaren and Vivienne Westwood outside Bow Street Magistrate Court after being remanded on bail for fighting in 1977. \u003ccite>(Bill Kennedy/Mirrorpix/Mirrorpix via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shop changed its name and focus several times, operating as “SEX” — Westwood and McLaren were fined in 1975 for an “indecent exhibition” there — and “World’s End” and “Seditionaries.”\u003c/p>\n\u003cp>“Vivienne is gone and the world is already a less interesting place. Love you Viv,” \u003ca href=\"https://twitter.com/ChrissieHynde/status/1608579881528623104\">tweeted Chrissie Hynde\u003c/a>, the frontwoman of the Pretenders and a former worker at the couple’s store.\u003c/p>\n\u003cp>Westwood moved into a fresh type of designing with her “Pirates” collection, exhibited in her first catwalk show in 1981. That breakthrough is credited with taking Westwood in a more traditional direction, showing her interest in incorporating historical British designs into contemporary clothes.\u003c/p>\n\u003cp>It was also an important step in an ongoing rapprochement between Westwood and the fashion world. The rebel eventually became one of its most celebrated stars, known for reinterpreting opulent dresses from the past and often finding inspiration in 18th century paintings.\u003c/p>\n\u003cp>But she still found ways to shock: Her Statue of Liberty corset in 1987 is remembered as the start of “underwear as outerwear” trend.\u003c/p>\n\u003cp>She eventually branched out into a range of business activities, including an alliance with Italian designer Giorgio Armani, and developed her ready-to-wear Red Label line, her more exclusive Gold Label line, a menswear collection and fragrances called Boudoir and Libertine. Westwood shops opened in New York, Hong Kong, Milan and several other major cities.\u003c/p>\n\u003cp>She was named designer of the year by the British Fashion Council in 1990 and 1991.\u003c/p>\n\u003cp>Her uneasy relationship with the British establishment is perhaps best exemplified by her 1992 trip to Buckingham Palace to receive an Order of the British Empire medal from Queen Elizabeth II: She wore no underwear, and posed for photographers in a way that made that abundantly clear.\u003c/p>\n\u003cp>Apparently the queen was not offended: Westwood was invited back to receive the even more auspicious designation of Dame Commander of the British Empire — the female equivalent of a knighthood — in 2006.\u003c/p>\n\u003cp>Westwood is survived by her second husband, Austrian-born Andreas Kronthaler, and her two sons.\u003c/p>\n\u003cp>The first, fashion photographer Ben Westwood, was her son with Derek Westwood. The second, Joe Corré — her son with McLaren — co-founded the upscale Agent Provocateur lingerie line.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Katz, a longtime correspondent for The Associated Press who died in 2020, was the principal writer of this obituary.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>An empty classroom can feel like a jarring setting to return to. No one wants to relive the anxiety of not knowing any classmates or showing up unprepared for a big test. But Tommy Bogo made the high school experience something to celebrate at New York Fashion Week last month. With his spring/summer 2023 collection, “For the Truant & the Fluent,” the Oakland-raised fashion and industrial designer returned to the beginnings of \u003ca href=\"https://www.tombogo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">TOMBOGO\u003c/a>.\u003c/p>\n\u003cp>“It kind of felt like a senior year moment,” Bogo says. “That, to me, was really special. It made me think about where I started and where I’m at now.”\u003c/p>\n\u003cp>The show opened with playful pieces that elevated traditional casualwear, like the bungee-cord skirt modeled by singer Teezo Touchdown. Vallejo producer Hokage Simon walked down the runway — a clearing between rows of desks — with a windmill-shaped leather backpack. Finally, the collection tied back to a piece of clothing integral to adolescence for Bay Area millennials: the oversized Girbaud jeans of the hyphy era, which Bogo reimagined as Girbogos worn by rapper Guap, a.k.a. Guapdad 4000.\u003c/p>\n\u003cp>https://youtu.be/4ITDAEU6d6A\u003c/p>\n\u003cp>TOMBOGO was officially founded in 2020, but Bogo got his start selling screen-printed T-shirts out of his locker at Oakland Technical High School. Today, his products can be seen on global superstars like J Balvin, who lent his name to TOMBOGO’s \u003ca href=\"https://shop.jbalvinmerch.com/products/tombogo-x-j-balvin-led-scouter-glasses-black-lava\" target=\"_blank\" rel=\"noopener noreferrer\">safety-goggle shades with LED flashlights\u003c/a>. Bogo’s futuristic, workwear-inspired pieces often teeter on the edge of practical and illogically elaborate, and signal a confident, comfy cool. Big brands like Saucony and Dr. Martens have tapped him to put new spins on their classic designs. And although Bogo isn’t a household name quite yet, the 28-year-old has become a trendsetter with a growing global impact.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In high school, I had never imagined I’d be doing a New York Fashion week or going to Paris to debut a sneaker,” Bogo says of his success. “When we did our Paris debut of the Saucony shoe, I actually had a second to take a step back and was like, ‘Woah, I never thought I’d be here because of this.’”\u003c/p>\n\u003cp>While creating his latest collection, Bogo found an opportunity to reflect on his beginnings. At Oakland tech, he took his studies seriously but sometimes skipped classes. He was a skateboarder and played saxophone in the jazz band, and he immersed himself in Oakland’s do-it-yourself creative culture. [aside postid='arts_13920746']\u003c/p>\n\u003cp>“I heard \u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a> saying he started Dope Era selling shirts out the trunk,” Bogo says of his early inspirations.\u003c/p>\n\u003cp>That outside-the-box mentality extends to the way Bogo approaches his designs, which he strives to make functional and eco-friendly. “If you can make things more utilitarian and multifunctional, then that’s one step closer to these products helping you solve problems on the everyday basis, or at least making your life easier,” Bogo explains.\u003c/p>\n\u003cfigure id=\"attachment_13920983\" class=\"wp-caption aligncenter\" style=\"max-width: 615px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920983\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screenshot-25.png\" alt=\"\" width=\"615\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screenshot-25.png 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screenshot-25-160x195.png 160w\" sizes=\"auto, (max-width: 615px) 100vw, 615px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Guap models TOMBOGO’s Saucony shoe. \u003ccite>(Courtesy of TOMBOGO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether it was adding pockets to Dr. Martens boots or incorporating recycled materials into his designs, Bogo is conscious of how his industry creates waste and wants to curb it as much as possible.\u003c/p>\n\u003cp>“Being able to purchase a garment that can serve different purposes can hopefully eliminate certain overconsumption,” Bogo says. “My hope is that it really allows people to hold onto these pieces instead of going the fast fashion route and cycling through a bunch of different garments all the time.”\u003c/p>\n\u003cp>As Bogo’s ambitions for his brand grew, he realized he needed to leave home — a harsh reality for many Bay Area creatives. He moved to New York right before the turn of the decade, and took everything he learned at home with him. Today he is based in Los Angeles, and he still continues working with Bay Area artists who came up alongside him. “I think there is something behind Bay Area creative culture that if you have made it out the Bay, there’s some sort of unspoken pact … to really stick together in terms of collaborating,” Bogo says.\u003c/p>\n\u003cp>One of those collaborators is singer \u003ca href=\"https://www.kqed.org/arts/13908331/elujays-bright-rb-emerges-from-two-of-the-hardest-years-of-his-life\" target=\"_blank\" rel=\"noopener noreferrer\">Elujay\u003c/a>, who modeled and created the soundtrack for the “For the Truant & the Fluent” runway show. He’s known Bogo since their days at Oakland Tech, and both have grown into prolific artists who turn to each other for mutual support.\u003c/p>\n\u003cp>https://www.instagram.com/p/CiamyzZABWV/\u003c/p>\n\u003cp>“He’s blossomed in the way he’s blossomed, and I was supporting what Tommy was doing, and he was supporting what I was doing,” Elujay says.\u003c/p>\n\u003cp>As his career progresses, Bogo continues to bring the Bay with him no matter where he goes, whether he’s collaborating with local artists or incorporating his hometown influences in his designs. TOMBOGO shows that it’s possible to come out of Oakland and create something monumental.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think it is important to leave home for a little and get the perspectives and community network, whatever opportunities there may be,” he says, “and then bring that home eventually.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An empty classroom can feel like a jarring setting to return to. No one wants to relive the anxiety of not knowing any classmates or showing up unprepared for a big test. But Tommy Bogo made the high school experience something to celebrate at New York Fashion Week last month. With his spring/summer 2023 collection, “For the Truant & the Fluent,” the Oakland-raised fashion and industrial designer returned to the beginnings of \u003ca href=\"https://www.tombogo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">TOMBOGO\u003c/a>.\u003c/p>\n\u003cp>“It kind of felt like a senior year moment,” Bogo says. “That, to me, was really special. It made me think about where I started and where I’m at now.”\u003c/p>\n\u003cp>The show opened with playful pieces that elevated traditional casualwear, like the bungee-cord skirt modeled by singer Teezo Touchdown. Vallejo producer Hokage Simon walked down the runway — a clearing between rows of desks — with a windmill-shaped leather backpack. Finally, the collection tied back to a piece of clothing integral to adolescence for Bay Area millennials: the oversized Girbaud jeans of the hyphy era, which Bogo reimagined as Girbogos worn by rapper Guap, a.k.a. Guapdad 4000.\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/4ITDAEU6d6A'\n title='//www.youtube.com/embed/4ITDAEU6d6A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>TOMBOGO was officially founded in 2020, but Bogo got his start selling screen-printed T-shirts out of his locker at Oakland Technical High School. Today, his products can be seen on global superstars like J Balvin, who lent his name to TOMBOGO’s \u003ca href=\"https://shop.jbalvinmerch.com/products/tombogo-x-j-balvin-led-scouter-glasses-black-lava\" target=\"_blank\" rel=\"noopener noreferrer\">safety-goggle shades with LED flashlights\u003c/a>. Bogo’s futuristic, workwear-inspired pieces often teeter on the edge of practical and illogically elaborate, and signal a confident, comfy cool. Big brands like Saucony and Dr. Martens have tapped him to put new spins on their classic designs. And although Bogo isn’t a household name quite yet, the 28-year-old has become a trendsetter with a growing global impact.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In high school, I had never imagined I’d be doing a New York Fashion week or going to Paris to debut a sneaker,” Bogo says of his success. “When we did our Paris debut of the Saucony shoe, I actually had a second to take a step back and was like, ‘Woah, I never thought I’d be here because of this.’”\u003c/p>\n\u003cp>While creating his latest collection, Bogo found an opportunity to reflect on his beginnings. At Oakland tech, he took his studies seriously but sometimes skipped classes. He was a skateboarder and played saxophone in the jazz band, and he immersed himself in Oakland’s do-it-yourself creative culture. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I heard \u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a> saying he started Dope Era selling shirts out the trunk,” Bogo says of his early inspirations.\u003c/p>\n\u003cp>That outside-the-box mentality extends to the way Bogo approaches his designs, which he strives to make functional and eco-friendly. “If you can make things more utilitarian and multifunctional, then that’s one step closer to these products helping you solve problems on the everyday basis, or at least making your life easier,” Bogo explains.\u003c/p>\n\u003cfigure id=\"attachment_13920983\" class=\"wp-caption aligncenter\" style=\"max-width: 615px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920983\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screenshot-25.png\" alt=\"\" width=\"615\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screenshot-25.png 615w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screenshot-25-160x195.png 160w\" sizes=\"auto, (max-width: 615px) 100vw, 615px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Guap models TOMBOGO’s Saucony shoe. \u003ccite>(Courtesy of TOMBOGO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whether it was adding pockets to Dr. Martens boots or incorporating recycled materials into his designs, Bogo is conscious of how his industry creates waste and wants to curb it as much as possible.\u003c/p>\n\u003cp>“Being able to purchase a garment that can serve different purposes can hopefully eliminate certain overconsumption,” Bogo says. “My hope is that it really allows people to hold onto these pieces instead of going the fast fashion route and cycling through a bunch of different garments all the time.”\u003c/p>\n\u003cp>As Bogo’s ambitions for his brand grew, he realized he needed to leave home — a harsh reality for many Bay Area creatives. He moved to New York right before the turn of the decade, and took everything he learned at home with him. Today he is based in Los Angeles, and he still continues working with Bay Area artists who came up alongside him. “I think there is something behind Bay Area creative culture that if you have made it out the Bay, there’s some sort of unspoken pact … to really stick together in terms of collaborating,” Bogo says.\u003c/p>\n\u003cp>One of those collaborators is singer \u003ca href=\"https://www.kqed.org/arts/13908331/elujays-bright-rb-emerges-from-two-of-the-hardest-years-of-his-life\" target=\"_blank\" rel=\"noopener noreferrer\">Elujay\u003c/a>, who modeled and created the soundtrack for the “For the Truant & the Fluent” runway show. He’s known Bogo since their days at Oakland Tech, and both have grown into prolific artists who turn to each other for mutual support.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“He’s blossomed in the way he’s blossomed, and I was supporting what Tommy was doing, and he was supporting what I was doing,” Elujay says.\u003c/p>\n\u003cp>As his career progresses, Bogo continues to bring the Bay with him no matter where he goes, whether he’s collaborating with local artists or incorporating his hometown influences in his designs. TOMBOGO shows that it’s possible to come out of Oakland and create something monumental.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think it is important to leave home for a little and get the perspectives and community network, whatever opportunities there may be,” he says, “and then bring that home eventually.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Stepping into \u003ca href=\"https://www.instagram.com/eternalnow.space/\" target=\"_blank\" rel=\"noopener noreferrer\">Eternal Now\u003c/a> feels like entering another country. On Friday, Aug. 26, the combination bookstore and record shop, housed within an inconspicuous black building on West Oakland’s San Pablo Avenue, was packed almost to the brim to see rappers and producers Alexander Spit and Ovrkast. Will Bundy, one of the shop owners (and former director of the mini-festival \u003ca href=\"https://www.kqed.org/arts/13829045/feels-returns-from-hiatus-with-stacked-lineup-and-impressive-venue\" target=\"_blank\" rel=\"noopener noreferrer\">Feels\u003c/a>), was handling purchases and drinks while Spit made beats live.\u003c/p>\n\u003cp>When it’s not acting as a show venue, the shop, which opened its doors at the start of June, is a calming escape. Light bounces off the white walls; the vibe is a beachside villa. Bundy, along with Ali Madigan, the lead designer on the space, and Jared (Stretch) Schwartz, Bundy’s business partner, make up the Eternal Now team. Bundy and Schwartz handle the inner workings of running the store, including the customer-facing day-to-day activities, and Madigan manages the design duties.\u003c/p>\n\u003cfigure id=\"attachment_13919551\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_ext_1200.jpg\" alt=\"Door open on sidewalk in black-painted facade.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13919551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eternal Now’s unassuming storefront on San Pablo Avenue. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I want people to feel like they’ve entered a portal into something new, or an oasis, or into a space where they can really get lost in a book, or into the music they’re listening to,” Bundy explains. The store’s hours are limited (Saturdays and Sundays, 1–6pm and by appointment) simply because this is not only a storefront for Bundy. He lives there too.\u003c/p>\n\u003cp>Behind the Eternal Now storefront lies “The Palace,” the space Bundy and Madigan have called home for the last five years. The storefront and living space have morphed dramatically over time. In the 1930s, it was a bar; 30 years later, it briefly became a laundromat. When Bundy and Madigan moved in, they used what is now the store as Madigan’s workshop, where she would work on set and clothing designs.\u003c/p>\n\u003cp>“When we came, it was a lot of windowless rooms and old drywall, and we just basically ripped everything out,” Madigan says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That empty space was a blank canvas for Madigan’s approach to interior design: The Palace was where she tested out ideas with mirrors, curved white planes, small seating areas, geometric shapes and exposed brick. For Eternal Now, Madigan used wooden stairs, metal railings and a lofted platform to create a listening station. “We really played that up, sort of this idea of this secret palace in the back,” she says. (It makes for a great Instagram backdrop too.)\u003c/p>\n\u003cfigure id=\"attachment_13919559\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_tapes_1200.jpg\" alt=\"Close-up view of rack of cassettes\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13919559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cassette tapes for sale at Eternal Now. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was our space together, so when Will started to put together the concept of the shop, it was really a no-brainer to design the shop as an extension of the design back here in The Palace,” Madigan explains.\u003c/p>\n\u003cp>Building out the shop took them six months. At the beginning of 2022, Madigan was in a severe car accident that impacted her ability to walk, let alone physically work on creating a new world. So while she began the store construction, she also started the recovery process, and it became a part of the story of Eternal Now.\u003c/p>\n\u003cp>“It kept me still and kept me here in the space 24/7 for months, and that was unexpected,” she says. “A silver lining there was that I was able to be in the space all the time, and I connected to it in a completely different way.”\u003c/p>\n\u003cp>Opening Eternal Now up to others and watching people relate to a space the co-owners poured so much time and energy has been astonishing for the team. Schwartz describes seeing people inside the store as a surreal experience. No many people get to see their hopes manifest as precisely as planned. “It’s a little bit of a trip, opening up your home in this way,” Bundy says. “Mostly, it feels really good. People have said such kind things about the space and are just really here for it.”\u003c/p>\n\u003cfigure id=\"attachment_13919552\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_overhead_1200.jpg\" alt=\"Colorful books and records in a white wallled and floored space \" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Looking down at the store from the lofted listening station. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since opening, the co-owners have felt the support of the local community. “I feel like it’s making Oakland feel both bigger and smaller at the same,” Bundy explains. He describes the store as a home for beautiful objects. And though the shop is clean and serene, Eternal Now isn’t sterile. The books, cassette tapes, vinyl records, and magazines add color to the decor. Bundy encourages people to explore the store and the things in it. Visitors can read the books on the shelves, take the records out of the plastic and listen to them, or just relax and take in the atmosphere.\u003c/p>\n\u003cp>In this space, Bundy, Madigan and Schwartz can support the art of the people they love in the Bay Area. Soon, they will partner with the San Francisco nonprofit Southern Exposure to present artwork by local artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It has been more fulfilling than I even anticipated or could’ve even imagined,” Madigan says after the long months of work. “Having the space open to the public, and seeing that happen.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stepping into \u003ca href=\"https://www.instagram.com/eternalnow.space/\" target=\"_blank\" rel=\"noopener noreferrer\">Eternal Now\u003c/a> feels like entering another country. On Friday, Aug. 26, the combination bookstore and record shop, housed within an inconspicuous black building on West Oakland’s San Pablo Avenue, was packed almost to the brim to see rappers and producers Alexander Spit and Ovrkast. Will Bundy, one of the shop owners (and former director of the mini-festival \u003ca href=\"https://www.kqed.org/arts/13829045/feels-returns-from-hiatus-with-stacked-lineup-and-impressive-venue\" target=\"_blank\" rel=\"noopener noreferrer\">Feels\u003c/a>), was handling purchases and drinks while Spit made beats live.\u003c/p>\n\u003cp>When it’s not acting as a show venue, the shop, which opened its doors at the start of June, is a calming escape. Light bounces off the white walls; the vibe is a beachside villa. Bundy, along with Ali Madigan, the lead designer on the space, and Jared (Stretch) Schwartz, Bundy’s business partner, make up the Eternal Now team. Bundy and Schwartz handle the inner workings of running the store, including the customer-facing day-to-day activities, and Madigan manages the design duties.\u003c/p>\n\u003cfigure id=\"attachment_13919551\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_ext_1200.jpg\" alt=\"Door open on sidewalk in black-painted facade.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13919551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_ext_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Eternal Now’s unassuming storefront on San Pablo Avenue. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I want people to feel like they’ve entered a portal into something new, or an oasis, or into a space where they can really get lost in a book, or into the music they’re listening to,” Bundy explains. The store’s hours are limited (Saturdays and Sundays, 1–6pm and by appointment) simply because this is not only a storefront for Bundy. He lives there too.\u003c/p>\n\u003cp>Behind the Eternal Now storefront lies “The Palace,” the space Bundy and Madigan have called home for the last five years. The storefront and living space have morphed dramatically over time. In the 1930s, it was a bar; 30 years later, it briefly became a laundromat. When Bundy and Madigan moved in, they used what is now the store as Madigan’s workshop, where she would work on set and clothing designs.\u003c/p>\n\u003cp>“When we came, it was a lot of windowless rooms and old drywall, and we just basically ripped everything out,” Madigan says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That empty space was a blank canvas for Madigan’s approach to interior design: The Palace was where she tested out ideas with mirrors, curved white planes, small seating areas, geometric shapes and exposed brick. For Eternal Now, Madigan used wooden stairs, metal railings and a lofted platform to create a listening station. “We really played that up, sort of this idea of this secret palace in the back,” she says. (It makes for a great Instagram backdrop too.)\u003c/p>\n\u003cfigure id=\"attachment_13919559\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_tapes_1200.jpg\" alt=\"Close-up view of rack of cassettes\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13919559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_tapes_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cassette tapes for sale at Eternal Now. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was our space together, so when Will started to put together the concept of the shop, it was really a no-brainer to design the shop as an extension of the design back here in The Palace,” Madigan explains.\u003c/p>\n\u003cp>Building out the shop took them six months. At the beginning of 2022, Madigan was in a severe car accident that impacted her ability to walk, let alone physically work on creating a new world. So while she began the store construction, she also started the recovery process, and it became a part of the story of Eternal Now.\u003c/p>\n\u003cp>“It kept me still and kept me here in the space 24/7 for months, and that was unexpected,” she says. “A silver lining there was that I was able to be in the space all the time, and I connected to it in a completely different way.”\u003c/p>\n\u003cp>Opening Eternal Now up to others and watching people relate to a space the co-owners poured so much time and energy has been astonishing for the team. Schwartz describes seeing people inside the store as a surreal experience. No many people get to see their hopes manifest as precisely as planned. “It’s a little bit of a trip, opening up your home in this way,” Bundy says. “Mostly, it feels really good. People have said such kind things about the space and are just really here for it.”\u003c/p>\n\u003cfigure id=\"attachment_13919552\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/EternalNow_overhead_1200.jpg\" alt=\"Colorful books and records in a white wallled and floored space \" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/EternalNow_overhead_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Looking down at the store from the lofted listening station. \u003ccite>(Aryk Copley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since opening, the co-owners have felt the support of the local community. “I feel like it’s making Oakland feel both bigger and smaller at the same,” Bundy explains. He describes the store as a home for beautiful objects. And though the shop is clean and serene, Eternal Now isn’t sterile. The books, cassette tapes, vinyl records, and magazines add color to the decor. Bundy encourages people to explore the store and the things in it. Visitors can read the books on the shelves, take the records out of the plastic and listen to them, or just relax and take in the atmosphere.\u003c/p>\n\u003cp>In this space, Bundy, Madigan and Schwartz can support the art of the people they love in the Bay Area. Soon, they will partner with the San Francisco nonprofit Southern Exposure to present artwork by local artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It has been more fulfilling than I even anticipated or could’ve even imagined,” Madigan says after the long months of work. “Having the space open to the public, and seeing that happen.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "fall-guide-free-events-bay-area-2022",
"title": "Fun on a Budget: 8 Free Fall Events in the Bay Area",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Gas prices. Sky-high inflation. The Millennial inability to stop buying lattes and avocado toast. (\u003cem>I kid!\u003c/em>)\u003c/p>\n\u003cp>The year 2022 has been rough on wallets across the country, and our wallets also happen to be sitting (half-empty) in one of its most expensive regions. (San Francisco, Oakland and San Jose all made the list of top-10 most expensive American cities.)\u003c/p>\n\u003cp>What does that mean? It means we all need as much free stuff as possible. And luckily for us, there are a lot of great events coming up that won’t cost you a dime to attend. Movies, art, dance, live music, parties, theater—we’ve got you covered. Bay Area rents may break the bank, but there’s a wealth of fun things to do that won’t.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13917591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917591\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-800x530.png\" alt=\"A Black dancer in open black shirt and tight black shorts, lays on a wooden platform, arms outstretched dramatically, with one leg kicked upwards and pointed out. Crowds watch on from the sidelines.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM.png 1592w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A performer strikes a pose at 2021’s Open To All Ball at Lake Merritt Amphitheater. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.facebook.com/events/1198327271019474/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Hyphy Ball\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Lake Merritt Amphitheater, Oakland\u003c/em>\u003cbr>\n\u003cem>Sept. 10, 1pm–7pm\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The follow-up to 2021’s dazzling \u003ca href=\"https://www.kqed.org/arts/13902915/photos-lgbtq-oakland-shows-out-at-the-open-to-all-vogue-ball\" target=\"_blank\" rel=\"noopener noreferrer\">Open to All Ball\u003c/a> is set to transform the shores of Lake Merritt once more into ballroom bliss. This year’s ball carries the same ethos as the last one: everyone—and they do mean absolutely everyone—is welcome. The 2022 theme, however, is brand new, and hella Oakland: hyphy. That will influence every category in this year’s contests, from performance soundtracks to the all-important runway fashions.\u003c/p>\n\u003cp>As usual, there are big prizes to be won, including $1,000 cash awards for categories including Realness, Face and Runway, and a $4,000 prize for the Tag Team performance. This year’s grand finale promises to be next-level thanks to the caveat that teams must include at least one hyphy move in their presentation. So … serve and turf?\u003c/p>\n\u003cfigure id=\"attachment_13917640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-2.29.48-PM-1-800x517.png\" alt=\"A Black woman in black and white striped dress, sits on a stool with her feet up, laughing as she holds an acoustic guitar on her lap.\" width=\"800\" height=\"517\">\u003cfigcaption class=\"wp-caption-text\">Meklit, an Ethiopia-born, Bay Area-dwelling singer, blends African and American blues, jazz and folk sounds with a constantly surprising level of grace and magnetism. And she’s on the Hardly Strictly lineup this year. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 30-Oct. 2\u003c/em>\u003c/p>\n\u003cp>After a two-year absence from Golden Gate Park, Hardly Strictly is set for a triumphant return this October with a lineup that offers something for nearly every mood and taste.\u003c/p>\n\u003cp>Festival veterans like Emmylou Harris (in her 22nd HSB appearance!) and Buddy Miller (in his 17th!) will be present, accounted for and offering warm fuzzy feelings to fend off the fog. Marcus Mumford and Talking Heads’ Jerry Harrison and Adrian Belew check the mainstream-appeal boxes. And local flavor comes in the form of Tré Burt (Sacramento), Meklit (San Francisco), Brothers Comatose (North Bay) and A.J. Lee and Blue Summit (South Bay).\u003c/p>\n\u003cp>But as usual, HSB will also be serving up fantastic artists from around the country. So far, this year’s must-not-miss list includes: the heart-wrenching but always uplifting Allison Russell, the retro-soul stylings of Lucius and the bluegrass-rooted Afrofuturism of Jake Blount. In a lineup that has long been proud to stray beyond the confines of traditional bluegrass, Blount is a one-man example of why it’s so exciting to do just that.\u003c/p>\n\u003cfigure id=\"attachment_13917608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917608\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-3.08.11-PM-800x542.png\" alt=\"A father and son walk hand-in-hand towards a group of parents and children playing with bubbles. Behind them, various stalls can be seen lining the street.\" width=\"800\" height=\"542\">\u003cfigcaption class=\"wp-caption-text\">Noise Pop’s 20th Street Block Party will take place on Valencia St. this year. \u003ccite>(Instagram/ @noisepop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://www.20thstreetblockparty.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop’s 20th Street Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Valencia Street between 18th and 21st Streets, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 15, 12pm-6pm\u003c/em>\u003c/p>\n\u003cp>This family-friendly free-for-all will take over three whole blocks of Valencia Street to bring live music, food, local arts and crafts, and a whole lot of fun, to the Mission. The location may be slightly different in 2022, but the vibe will remain the same as the prior eight years: a love letter to the diversity and creativity of the Mission District.\u003c/p>\n\u003cp>Proceeds collected at this year’s community gathering will assist two great nonprofits in continuing their work in the neighborhood. \u003ca href=\"https://826valencia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">826 Valencia\u003c/a> (a.k.a. the Pirate Supply Store) will use all donations to further their mission of making sure under-resourced kids get a tutoring boost so they can become great writers. And \u003ca href=\"https://lacocinasf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">La Cocina\u003c/a> will keep working toward equity in business ownership, providing mentorship and affordable kitchen space to female and BIPOC entrepreneurs.\u003c/p>\n\u003cfigure id=\"attachment_13917609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-3.37.26-PM-800x486.png\" alt=\"Three South Asian women sitting in a row laughing.\" width=\"800\" height=\"486\">\u003cfigcaption class=\"wp-caption-text\">Attendees taking in a show at Cupertino’s Diwali: Festival of Lights. \u003ccite>(Cupertino Chamber of Commerce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.facebook.com/bayareadiwalifestival\" target=\"_blank\" rel=\"noopener noreferrer\">Diwali Festival of Lights\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Memorial Park, Cupertino\u003c/em>\u003cbr>\n\u003cem>Oct. 8, 11am-6pm\u003c/em>\u003c/p>\n\u003cp>Sure, this festival is happening a full 15 days before Diwali’s five-day celebration even starts, but it’s never too soon to get excited about light triumphing over darkness.\u003c/p>\n\u003cp>Beyond honoring the holiday itself, Cupertino’s Festival of Lights is a celebration of all things Desi. The plethora of colorful dance displays—a journey through classical \u003ca href=\"https://en.wikipedia.org/wiki/Bharatanatyam\" target=\"_blank\" rel=\"noopener noreferrer\">Bharatanatyam\u003c/a> to modern \u003ca href=\"https://en.wikipedia.org/wiki/Bhangra_(dance)#Bhangra_today\" target=\"_blank\" rel=\"noopener noreferrer\">Bhangra\u003c/a>—are worth the journey alone. But the spicy and aromatic street food on hand also satisfies rumbling stomachs, the stalls have plenty to keep dedicated shoppers busy and the \u003ca href=\"https://en.wikipedia.org/wiki/Rangoli\" target=\"_blank\" rel=\"noopener noreferrer\">Rangoli\u003c/a> art displays are just mesmerizing. Plus, there’s even a Kids Zone that usually includes some pretty ridiculous physical challenges. (If you’ve ever wanted to stick your child in a giant hamster ball, this is the place to do it.)\u003c/p>\n\u003cp>To cap it all, there’s even free parking. Just head to De Anza College’s A and B lots.\u003c/p>\n\u003cfigure id=\"attachment_13917731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.07.55-PM-800x601.png\" alt=\"A grid of 12 squares showing different styles of paintings and crafts.\" width=\"800\" height=\"601\">\u003cfigcaption class=\"wp-caption-text\">A tiny portion of the artists showing at San Francisco Open Studios. \u003ccite>(Courtesy of SFOS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.artspan.org/sfos-schedule\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco\u003c/a> / \u003ca href=\"https://eastbayopenstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Open Studios\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Locations TBD. (Check \u003ca href=\"https://www.artspan.org/visit-sf-open-studios/navigating-sfos\" target=\"_blank\" rel=\"noopener noreferrer\">SFOS\u003c/a> and \u003ca href=\"https://eastbayopenstudios.com/2022-event-schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">EBOS\u003c/a> websites for directories.)\u003c/em>\u003cbr>\n\u003cem>San Francisco: Oct. 23-Nov. 13\u003cbr>\nEast Bay: Nov. 5-13\u003c/em>\u003c/p>\n\u003cp>Whether you approach them as casual neighborhood strolls or regimented exercises complete with maps and schedules, the Open Studios events on both sides of the Bay are worthy of your attention. Taking place across four weekends in San Francisco and two in the East Bay, Open Studios is a chance to get to know the artists in your area, support them and see some truly great work. (There’s usually a surprising amount of free cookies involved too…)\u003c/p>\n\u003cp>Wandering between home studios, artist collective spaces, back yards and garages doesn’t just feel like a treasure hunt—it also offers a glimpse into how Bay Area artists live and survive. It’s inspiring to witness not just the eclectic array of talent on display, but the resourcefulness of many of our local creators. And if you can’t make it out to meet them in person, the SFOS website offers \u003ca href=\"https://www.artspan.org/vast\" target=\"_blank\" rel=\"noopener noreferrer\">virtual tours of selected artists’ studios\u003c/a>.\u003c/p>\n\u003cp>While the Open Studios events themselves are free, don’t expect to come home empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13917656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-800x557.png\" alt=\"A woman in her twenties with black hair, wearing midriff-baring punky clothes, throws her arms above her head and sticks her tongue out in a rebellious gesture.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-1020x710.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM.png 1700w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Livia Gomes Demarchi as Beatrice in San Francisco Shakespeare Festival’s 40th Anniversary production of ‘Much Ado About Nothing.’ \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfshakes.org/?fbclid=IwAR3OD5c8Cx3CbwJ02gSUOBcfQYf8GDYCLFp5fKvmK-wulGkee84ucXcZF_c\" target=\"_blank\" rel=\"noopener noreferrer\">Shakespeare in the Park\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jerry Garcia Amphitheater, MacLaren Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 3-11, 2pm\u003c/em>\u003c/p>\n\u003cp>\u003cem>Much Ado About Nothing\u003c/em> can be quite the challenging prospect for modern audiences—particularly the women watching. After all, it’s difficult to glean much enjoyment from watching female characters getting treated terribly by the men in their midst for 160 minutes, only to have everything wrapped up in a neat little bow in the end.\u003c/p>\n\u003cp>This year’s production by the San Francisco Shakespeare Festival however, promises to be a more palatable take on a dated classic. With a distinctly ’90s aesthetic, a run time of just 90 minutes (no intermission) and modernized versions of familiar characters, this \u003cem>Much Ado\u003c/em> promises something a little different from more traditional productions. Think: Beatrice in lip-liner and a dog collar, a grunge rendition of “Sigh No More” and Benedick out participating in protest marches. No, really.\u003c/p>\n\u003cp>If you missed this \u003cem>Much Ado About Nothing\u003c/em> in Cupertino and Redwood City and can’t make it to McLaren Park either, don’t worry. A version of the production will be made \u003ca href=\"https://www.youtube.com/watch?v=cB1obsLLZe8\" target=\"_blank\" rel=\"noopener noreferrer\">available online\u003c/a> at a later date, complete with closed captions.\u003c/p>\n\u003cfigure id=\"attachment_13917732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-800x520.png\" alt=\"Dancers - three female, one male - wearing traditional Mexican clothes smile as they perform on a small stage.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-1020x663.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-768x499.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM.png 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers performing the Jarabe Tapatío at the Solano Avenue Stroll. \u003ccite>(Courtesy of Solano Avenue Stroll)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.solanoavenueassn.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Solano Avenue Stroll\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Solano Avenue, Albany and Berkeley\u003c/em>\u003cbr>\n\u003cem>Sept. 11, 10am-5pm\u003c/em>\u003c/p>\n\u003cp>Finally! The Stroll is back after a two-year absence, and it promises to be just as huge as it always was. It will still occupy an entire, fully pedestrianized mile of Solano Avenue in a colorful celebration of both Albany and Berkeley that starts with an opening ceremony and mini-parade. The day-long celebration fills the street with music, dancing and scores of local businesses, artists and makers selling their wares—including, of course, enough food booths to feed the thousands of people who usually attend.\u003c/p>\n\u003cp>Because of its scale, the Solano Avenue Stroll can be a little overwhelming at peak times, but it’s worth getting there early so you can take your time with it all. A free shuttle from North Berkeley BART will get you there without parking hassles.\u003c/p>\n\u003cfigure id=\"attachment_13917733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png\" alt=\"Many people gather on the slanted lawn in front of a large screen surrounded on all sides with trees.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1536x984.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sundown Cinema at Jerry Garcia Amphitheater at McLaren Park. \u003ccite>(Instagram/ @dothebay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.sfparksalliance.org/event/sundown-cinema-member-seating-sister-act-2/e405348\" target=\"_blank\" rel=\"noopener noreferrer\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Alamo Square, Crane Cove, Jerry Garcia Amphitheater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 9-Oct.21, 5pm\u003c/em>\u003c/p>\n\u003cp>The Bay Area is awash with unique little movie theaters; we are truly blessed in this regard. But for a few weeks every fall, big screens pop up around San Francisco that give even our cutest theaters a run for their money. (If you’ve ever watched a movie in Alamo Square Park with the sun setting behind the Painted Ladies, you already know what’s up.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This rest of this season’s Sundown Cinema will feature \u003cem>Raiders of the Lost Ark\u003c/em> at Alamo Square (Sept. 9), \u003cem>Shang Chi & The Legend of the Ten Rings\u003c/em> at Crane Cove (Sept. 30) and \u003cem>Addams Family Values\u003c/em> at the Jerry Garcia Amphitheater (Oct. 21). Perfect for family picnics, date night and people who love wearing their Patagonias to chilly park excursions.\u003c/p>\n\n",
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"excerpt": "Who needs free movies, art, dance, live music, parties and theater? All of us, that's who.",
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"title": "Fun on a Budget: 8 Free Fall Events in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Gas prices. Sky-high inflation. The Millennial inability to stop buying lattes and avocado toast. (\u003cem>I kid!\u003c/em>)\u003c/p>\n\u003cp>The year 2022 has been rough on wallets across the country, and our wallets also happen to be sitting (half-empty) in one of its most expensive regions. (San Francisco, Oakland and San Jose all made the list of top-10 most expensive American cities.)\u003c/p>\n\u003cp>What does that mean? It means we all need as much free stuff as possible. And luckily for us, there are a lot of great events coming up that won’t cost you a dime to attend. Movies, art, dance, live music, parties, theater—we’ve got you covered. Bay Area rents may break the bank, but there’s a wealth of fun things to do that won’t.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13917591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917591\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-800x530.png\" alt=\"A Black dancer in open black shirt and tight black shorts, lays on a wooden platform, arms outstretched dramatically, with one leg kicked upwards and pointed out. Crowds watch on from the sidelines.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM.png 1592w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A performer strikes a pose at 2021’s Open To All Ball at Lake Merritt Amphitheater. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.facebook.com/events/1198327271019474/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Hyphy Ball\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Lake Merritt Amphitheater, Oakland\u003c/em>\u003cbr>\n\u003cem>Sept. 10, 1pm–7pm\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 follow-up to 2021’s dazzling \u003ca href=\"https://www.kqed.org/arts/13902915/photos-lgbtq-oakland-shows-out-at-the-open-to-all-vogue-ball\" target=\"_blank\" rel=\"noopener noreferrer\">Open to All Ball\u003c/a> is set to transform the shores of Lake Merritt once more into ballroom bliss. This year’s ball carries the same ethos as the last one: everyone—and they do mean absolutely everyone—is welcome. The 2022 theme, however, is brand new, and hella Oakland: hyphy. That will influence every category in this year’s contests, from performance soundtracks to the all-important runway fashions.\u003c/p>\n\u003cp>As usual, there are big prizes to be won, including $1,000 cash awards for categories including Realness, Face and Runway, and a $4,000 prize for the Tag Team performance. This year’s grand finale promises to be next-level thanks to the caveat that teams must include at least one hyphy move in their presentation. So … serve and turf?\u003c/p>\n\u003cfigure id=\"attachment_13917640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-2.29.48-PM-1-800x517.png\" alt=\"A Black woman in black and white striped dress, sits on a stool with her feet up, laughing as she holds an acoustic guitar on her lap.\" width=\"800\" height=\"517\">\u003cfigcaption class=\"wp-caption-text\">Meklit, an Ethiopia-born, Bay Area-dwelling singer, blends African and American blues, jazz and folk sounds with a constantly surprising level of grace and magnetism. And she’s on the Hardly Strictly lineup this year. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 30-Oct. 2\u003c/em>\u003c/p>\n\u003cp>After a two-year absence from Golden Gate Park, Hardly Strictly is set for a triumphant return this October with a lineup that offers something for nearly every mood and taste.\u003c/p>\n\u003cp>Festival veterans like Emmylou Harris (in her 22nd HSB appearance!) and Buddy Miller (in his 17th!) will be present, accounted for and offering warm fuzzy feelings to fend off the fog. Marcus Mumford and Talking Heads’ Jerry Harrison and Adrian Belew check the mainstream-appeal boxes. And local flavor comes in the form of Tré Burt (Sacramento), Meklit (San Francisco), Brothers Comatose (North Bay) and A.J. Lee and Blue Summit (South Bay).\u003c/p>\n\u003cp>But as usual, HSB will also be serving up fantastic artists from around the country. So far, this year’s must-not-miss list includes: the heart-wrenching but always uplifting Allison Russell, the retro-soul stylings of Lucius and the bluegrass-rooted Afrofuturism of Jake Blount. In a lineup that has long been proud to stray beyond the confines of traditional bluegrass, Blount is a one-man example of why it’s so exciting to do just that.\u003c/p>\n\u003cfigure id=\"attachment_13917608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917608\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-3.08.11-PM-800x542.png\" alt=\"A father and son walk hand-in-hand towards a group of parents and children playing with bubbles. Behind them, various stalls can be seen lining the street.\" width=\"800\" height=\"542\">\u003cfigcaption class=\"wp-caption-text\">Noise Pop’s 20th Street Block Party will take place on Valencia St. this year. \u003ccite>(Instagram/ @noisepop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://www.20thstreetblockparty.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop’s 20th Street Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Valencia Street between 18th and 21st Streets, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 15, 12pm-6pm\u003c/em>\u003c/p>\n\u003cp>This family-friendly free-for-all will take over three whole blocks of Valencia Street to bring live music, food, local arts and crafts, and a whole lot of fun, to the Mission. The location may be slightly different in 2022, but the vibe will remain the same as the prior eight years: a love letter to the diversity and creativity of the Mission District.\u003c/p>\n\u003cp>Proceeds collected at this year’s community gathering will assist two great nonprofits in continuing their work in the neighborhood. \u003ca href=\"https://826valencia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">826 Valencia\u003c/a> (a.k.a. the Pirate Supply Store) will use all donations to further their mission of making sure under-resourced kids get a tutoring boost so they can become great writers. And \u003ca href=\"https://lacocinasf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">La Cocina\u003c/a> will keep working toward equity in business ownership, providing mentorship and affordable kitchen space to female and BIPOC entrepreneurs.\u003c/p>\n\u003cfigure id=\"attachment_13917609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-3.37.26-PM-800x486.png\" alt=\"Three South Asian women sitting in a row laughing.\" width=\"800\" height=\"486\">\u003cfigcaption class=\"wp-caption-text\">Attendees taking in a show at Cupertino’s Diwali: Festival of Lights. \u003ccite>(Cupertino Chamber of Commerce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.facebook.com/bayareadiwalifestival\" target=\"_blank\" rel=\"noopener noreferrer\">Diwali Festival of Lights\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Memorial Park, Cupertino\u003c/em>\u003cbr>\n\u003cem>Oct. 8, 11am-6pm\u003c/em>\u003c/p>\n\u003cp>Sure, this festival is happening a full 15 days before Diwali’s five-day celebration even starts, but it’s never too soon to get excited about light triumphing over darkness.\u003c/p>\n\u003cp>Beyond honoring the holiday itself, Cupertino’s Festival of Lights is a celebration of all things Desi. The plethora of colorful dance displays—a journey through classical \u003ca href=\"https://en.wikipedia.org/wiki/Bharatanatyam\" target=\"_blank\" rel=\"noopener noreferrer\">Bharatanatyam\u003c/a> to modern \u003ca href=\"https://en.wikipedia.org/wiki/Bhangra_(dance)#Bhangra_today\" target=\"_blank\" rel=\"noopener noreferrer\">Bhangra\u003c/a>—are worth the journey alone. But the spicy and aromatic street food on hand also satisfies rumbling stomachs, the stalls have plenty to keep dedicated shoppers busy and the \u003ca href=\"https://en.wikipedia.org/wiki/Rangoli\" target=\"_blank\" rel=\"noopener noreferrer\">Rangoli\u003c/a> art displays are just mesmerizing. Plus, there’s even a Kids Zone that usually includes some pretty ridiculous physical challenges. (If you’ve ever wanted to stick your child in a giant hamster ball, this is the place to do it.)\u003c/p>\n\u003cp>To cap it all, there’s even free parking. Just head to De Anza College’s A and B lots.\u003c/p>\n\u003cfigure id=\"attachment_13917731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.07.55-PM-800x601.png\" alt=\"A grid of 12 squares showing different styles of paintings and crafts.\" width=\"800\" height=\"601\">\u003cfigcaption class=\"wp-caption-text\">A tiny portion of the artists showing at San Francisco Open Studios. \u003ccite>(Courtesy of SFOS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.artspan.org/sfos-schedule\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco\u003c/a> / \u003ca href=\"https://eastbayopenstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Open Studios\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Locations TBD. (Check \u003ca href=\"https://www.artspan.org/visit-sf-open-studios/navigating-sfos\" target=\"_blank\" rel=\"noopener noreferrer\">SFOS\u003c/a> and \u003ca href=\"https://eastbayopenstudios.com/2022-event-schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">EBOS\u003c/a> websites for directories.)\u003c/em>\u003cbr>\n\u003cem>San Francisco: Oct. 23-Nov. 13\u003cbr>\nEast Bay: Nov. 5-13\u003c/em>\u003c/p>\n\u003cp>Whether you approach them as casual neighborhood strolls or regimented exercises complete with maps and schedules, the Open Studios events on both sides of the Bay are worthy of your attention. Taking place across four weekends in San Francisco and two in the East Bay, Open Studios is a chance to get to know the artists in your area, support them and see some truly great work. (There’s usually a surprising amount of free cookies involved too…)\u003c/p>\n\u003cp>Wandering between home studios, artist collective spaces, back yards and garages doesn’t just feel like a treasure hunt—it also offers a glimpse into how Bay Area artists live and survive. It’s inspiring to witness not just the eclectic array of talent on display, but the resourcefulness of many of our local creators. And if you can’t make it out to meet them in person, the SFOS website offers \u003ca href=\"https://www.artspan.org/vast\" target=\"_blank\" rel=\"noopener noreferrer\">virtual tours of selected artists’ studios\u003c/a>.\u003c/p>\n\u003cp>While the Open Studios events themselves are free, don’t expect to come home empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13917656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-800x557.png\" alt=\"A woman in her twenties with black hair, wearing midriff-baring punky clothes, throws her arms above her head and sticks her tongue out in a rebellious gesture.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-1020x710.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM.png 1700w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Livia Gomes Demarchi as Beatrice in San Francisco Shakespeare Festival’s 40th Anniversary production of ‘Much Ado About Nothing.’ \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfshakes.org/?fbclid=IwAR3OD5c8Cx3CbwJ02gSUOBcfQYf8GDYCLFp5fKvmK-wulGkee84ucXcZF_c\" target=\"_blank\" rel=\"noopener noreferrer\">Shakespeare in the Park\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jerry Garcia Amphitheater, MacLaren Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 3-11, 2pm\u003c/em>\u003c/p>\n\u003cp>\u003cem>Much Ado About Nothing\u003c/em> can be quite the challenging prospect for modern audiences—particularly the women watching. After all, it’s difficult to glean much enjoyment from watching female characters getting treated terribly by the men in their midst for 160 minutes, only to have everything wrapped up in a neat little bow in the end.\u003c/p>\n\u003cp>This year’s production by the San Francisco Shakespeare Festival however, promises to be a more palatable take on a dated classic. With a distinctly ’90s aesthetic, a run time of just 90 minutes (no intermission) and modernized versions of familiar characters, this \u003cem>Much Ado\u003c/em> promises something a little different from more traditional productions. Think: Beatrice in lip-liner and a dog collar, a grunge rendition of “Sigh No More” and Benedick out participating in protest marches. No, really.\u003c/p>\n\u003cp>If you missed this \u003cem>Much Ado About Nothing\u003c/em> in Cupertino and Redwood City and can’t make it to McLaren Park either, don’t worry. A version of the production will be made \u003ca href=\"https://www.youtube.com/watch?v=cB1obsLLZe8\" target=\"_blank\" rel=\"noopener noreferrer\">available online\u003c/a> at a later date, complete with closed captions.\u003c/p>\n\u003cfigure id=\"attachment_13917732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-800x520.png\" alt=\"Dancers - three female, one male - wearing traditional Mexican clothes smile as they perform on a small stage.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-1020x663.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-768x499.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM.png 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers performing the Jarabe Tapatío at the Solano Avenue Stroll. \u003ccite>(Courtesy of Solano Avenue Stroll)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.solanoavenueassn.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Solano Avenue Stroll\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Solano Avenue, Albany and Berkeley\u003c/em>\u003cbr>\n\u003cem>Sept. 11, 10am-5pm\u003c/em>\u003c/p>\n\u003cp>Finally! The Stroll is back after a two-year absence, and it promises to be just as huge as it always was. It will still occupy an entire, fully pedestrianized mile of Solano Avenue in a colorful celebration of both Albany and Berkeley that starts with an opening ceremony and mini-parade. The day-long celebration fills the street with music, dancing and scores of local businesses, artists and makers selling their wares—including, of course, enough food booths to feed the thousands of people who usually attend.\u003c/p>\n\u003cp>Because of its scale, the Solano Avenue Stroll can be a little overwhelming at peak times, but it’s worth getting there early so you can take your time with it all. A free shuttle from North Berkeley BART will get you there without parking hassles.\u003c/p>\n\u003cfigure id=\"attachment_13917733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png\" alt=\"Many people gather on the slanted lawn in front of a large screen surrounded on all sides with trees.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1536x984.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sundown Cinema at Jerry Garcia Amphitheater at McLaren Park. \u003ccite>(Instagram/ @dothebay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.sfparksalliance.org/event/sundown-cinema-member-seating-sister-act-2/e405348\" target=\"_blank\" rel=\"noopener noreferrer\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Alamo Square, Crane Cove, Jerry Garcia Amphitheater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 9-Oct.21, 5pm\u003c/em>\u003c/p>\n\u003cp>The Bay Area is awash with unique little movie theaters; we are truly blessed in this regard. But for a few weeks every fall, big screens pop up around San Francisco that give even our cutest theaters a run for their money. (If you’ve ever watched a movie in Alamo Square Park with the sun setting behind the Painted Ladies, you already know what’s up.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This rest of this season’s Sundown Cinema will feature \u003cem>Raiders of the Lost Ark\u003c/em> at Alamo Square (Sept. 9), \u003cem>Shang Chi & The Legend of the Ten Rings\u003c/em> at Crane Cove (Sept. 30) and \u003cem>Addams Family Values\u003c/em> at the Jerry Garcia Amphitheater (Oct. 21). Perfect for family picnics, date night and people who love wearing their Patagonias to chilly park excursions.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "black-futures-ball-oakland",
"title": "Imagining New Black Futures for a Good Cause",
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"headTitle": "Imagining New Black Futures for a Good Cause | KQED",
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"content": "\u003cp>Not only are there Black folks in the future—they’re fly, too.\u003c/p>\n\u003cp>At the \u003ca href=\"https://www.eventbrite.com/e/eoydc-fundraiser-the-black-futures-ball-tickets-350040379197\" target=\"_blank\" rel=\"noopener noreferrer\">Black Futures Ball\u003c/a> at the Bridge Yard on Aug. 6, you’ll see a blend of Comic-Con with a traditional gala and Town culture, says Selena Wilson, CEO of the East Oakland Youth Development Center (\u003ca href=\"https://eoydc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">EOYDC\u003c/a>), which is hosting the event.\u003c/p>\n\u003cp>“Folks can expect to see people in straight-up cosplay. They can expect to see people in grills and Jordans. They’ll see folks in heels and cocktail dresses, in gowns, and in beautiful traditional African clothing mixed with futuristic pieces,” Wilson tells me. “There will be something for everybody.”\u003c/p>\n\u003cp>Both celebration and fundraiser, attendees of the Black Futures Ball are invited to contribute to EOYDC’s annual college fund. A staple for over two decades, the Deep East Oakland-based center’s fund donated $150,000 to Black and brown Bay Area students last year alone. Wilson hopes to keep that momentum: “We’re celebrating the theme of Afrofuturism,” she says. “We’re also legit investing in Black futures.”\u003c/p>\n\u003cp>That investment is more important than ever. When Black students take out student loans to attend college, a recent Brookings Institute report concluded, they \u003ca href=\"https://www.brookings.edu/research/student-loans-the-racial-wealth-divide-and-why-we-need-full-student-debt-cancellation/\" target=\"_blank\" rel=\"noopener noreferrer\">borrow more on average\u003c/a> than their white classmates. What’s more, the \u003ca href=\"https://www.brookings.edu/research/black-white-disparity-in-student-loan-debt-more-than-triples-after-graduation/\" target=\"_blank\" rel=\"noopener noreferrer\">debt disparity between Black graduates and white graduates more than triples\u003c/a> after graduation.\u003c/p>\n\u003cfigure id=\"attachment_13916573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/College-Tour-2-800x600.jpg\" alt=\"EOYDC students on a college tour at Rice University.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">EOYDC students on a college tour at Rice University. \u003ccite>(Via EOYDC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Backed by \u003ca href=\"https://www.instagram.com/thetownexperience/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">The Town Experience\u003c/a>, \u003ca href=\"https://instagram.com/marketing_kings?igshid=YmMyMTA2M2Y=\" target=\"_blank\" rel=\"noopener noreferrer\">Marketing Kings\u003c/a> and \u003ca href=\"https://www.thesubversal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Subversal\u003c/a> group, the event will be filled with visual arts, music and food. Performances include renowned Oakland vocalist \u003ca href=\"https://www.instagram.com/goapele/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Goapele\u003c/a> and emerging lyricist \u003ca href=\"https://www.instagram.com/official.jwalt/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">J-Walt\u003c/a>. Installations of visual art will come from \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Aerosoul\u003c/a>, \u003ca href=\"https://www.blackterminus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Terminus\u003c/a>, \u003ca href=\"https://afrocomiccon.org/\" target=\"_blank\" rel=\"noopener noreferrer\">AfroComicCon\u003c/a>, \u003ca href=\"https://www.runtheworldclothing.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Run The World Clothing\u003c/a> and \u003ca href=\"https://www.darkstaruniverse.com/about.html#/\" target=\"_blank\" rel=\"noopener noreferrer\">Dark Star Universe\u003c/a>, as well as an Afrofuturism-themed exhibit hosted by the \u003ca href=\"https://www.mocha.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland’s Museum of Children’s Art\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Music from all throughout the diaspora will be spun by \u003ca href=\"https://www.instagram.com/dcischillin/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DC is Chillin\u003c/a> and \u003ca href=\"https://www.instagram.com/mrdaveyd/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Davey D\u003c/a>, and the \u003ca href=\"https://www.instagram.com/theturffeinz/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Turffeinz\u003c/a> will deliver a dance performance.\u003c/p>\n\u003cp>Hosted by Oakland’s own multitalented Grammy-nominated artist \u003ca href=\"https://www.msryannicole.com/\" target=\"_blank\" rel=\"noopener noreferrer\">RyanNicole\u003c/a>, there will be a formal segment of the evening where Champion for Youth Awards will be given to entertainer and community advocate Mistah F.A.B., activist and BART Board Director Lateefah Simon, organizer and educator Nehanda Imara, and the South Bay’s André Chapman, founder of Unity Care.\u003c/p>\n\u003cp>This all-star lineup comes together for a good cause in the face of the ever-increasing challenges in our world—a global pandemic, rising gun violence and more, says Wilson. “To solve the problems of today, it’s going to take radical imagination,” Wilson tells me. “And when I think about Afrofuturism, it inspires radical imagination for me.”\u003c/p>\n\u003cp>Motivated by the idea of the fictional utopia of Wakanda from the movie \u003cem>Black Panther\u003c/em>—and in the wake of the \u003ca href=\"https://www.youtube.com/watch?v=RlOB3UALvrQ\" target=\"_blank\" rel=\"noopener noreferrer\">recently dropped trailed for \u003cem>Wakanda Forever\u003c/em>\u003c/a>—this year’s theme is “Oakanda.”\u003c/p>\n\u003cp>Wilson asks rhetorically, “What if we could build the Oakanda of our dreams? What if we did engage in that radical imagination?”\u003c/p>\n\u003cp>Wilson, a firm believer that the key to liberation is joy, adds, “That’s why we wanted to make sure that we have so many different elements of joy in this event, so many things that are celebrating \u003cem>the culture\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Black Futures Ball gets underway on Saturday, Aug. 6, at the Bridge Yard in Oakland. \u003ca href=\"https://www.eventbrite.com/e/eoydc-fundraiser-the-black-futures-ball-tickets-350040379197\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not only are there Black folks in the future—they’re fly, too.\u003c/p>\n\u003cp>At the \u003ca href=\"https://www.eventbrite.com/e/eoydc-fundraiser-the-black-futures-ball-tickets-350040379197\" target=\"_blank\" rel=\"noopener noreferrer\">Black Futures Ball\u003c/a> at the Bridge Yard on Aug. 6, you’ll see a blend of Comic-Con with a traditional gala and Town culture, says Selena Wilson, CEO of the East Oakland Youth Development Center (\u003ca href=\"https://eoydc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">EOYDC\u003c/a>), which is hosting the event.\u003c/p>\n\u003cp>“Folks can expect to see people in straight-up cosplay. They can expect to see people in grills and Jordans. They’ll see folks in heels and cocktail dresses, in gowns, and in beautiful traditional African clothing mixed with futuristic pieces,” Wilson tells me. “There will be something for everybody.”\u003c/p>\n\u003cp>Both celebration and fundraiser, attendees of the Black Futures Ball are invited to contribute to EOYDC’s annual college fund. A staple for over two decades, the Deep East Oakland-based center’s fund donated $150,000 to Black and brown Bay Area students last year alone. Wilson hopes to keep that momentum: “We’re celebrating the theme of Afrofuturism,” she says. “We’re also legit investing in Black futures.”\u003c/p>\n\u003cp>That investment is more important than ever. When Black students take out student loans to attend college, a recent Brookings Institute report concluded, they \u003ca href=\"https://www.brookings.edu/research/student-loans-the-racial-wealth-divide-and-why-we-need-full-student-debt-cancellation/\" target=\"_blank\" rel=\"noopener noreferrer\">borrow more on average\u003c/a> than their white classmates. What’s more, the \u003ca href=\"https://www.brookings.edu/research/black-white-disparity-in-student-loan-debt-more-than-triples-after-graduation/\" target=\"_blank\" rel=\"noopener noreferrer\">debt disparity between Black graduates and white graduates more than triples\u003c/a> after graduation.\u003c/p>\n\u003cfigure id=\"attachment_13916573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/College-Tour-2-800x600.jpg\" alt=\"EOYDC students on a college tour at Rice University.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/College-Tour-2.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">EOYDC students on a college tour at Rice University. \u003ccite>(Via EOYDC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Backed by \u003ca href=\"https://www.instagram.com/thetownexperience/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">The Town Experience\u003c/a>, \u003ca href=\"https://instagram.com/marketing_kings?igshid=YmMyMTA2M2Y=\" target=\"_blank\" rel=\"noopener noreferrer\">Marketing Kings\u003c/a> and \u003ca href=\"https://www.thesubversal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Subversal\u003c/a> group, the event will be filled with visual arts, music and food. Performances include renowned Oakland vocalist \u003ca href=\"https://www.instagram.com/goapele/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Goapele\u003c/a> and emerging lyricist \u003ca href=\"https://www.instagram.com/official.jwalt/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">J-Walt\u003c/a>. Installations of visual art will come from \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Aerosoul\u003c/a>, \u003ca href=\"https://www.blackterminus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Terminus\u003c/a>, \u003ca href=\"https://afrocomiccon.org/\" target=\"_blank\" rel=\"noopener noreferrer\">AfroComicCon\u003c/a>, \u003ca href=\"https://www.runtheworldclothing.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Run The World Clothing\u003c/a> and \u003ca href=\"https://www.darkstaruniverse.com/about.html#/\" target=\"_blank\" rel=\"noopener noreferrer\">Dark Star Universe\u003c/a>, as well as an Afrofuturism-themed exhibit hosted by the \u003ca href=\"https://www.mocha.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland’s Museum of Children’s Art\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Music from all throughout the diaspora will be spun by \u003ca href=\"https://www.instagram.com/dcischillin/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DC is Chillin\u003c/a> and \u003ca href=\"https://www.instagram.com/mrdaveyd/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Davey D\u003c/a>, and the \u003ca href=\"https://www.instagram.com/theturffeinz/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Turffeinz\u003c/a> will deliver a dance performance.\u003c/p>\n\u003cp>Hosted by Oakland’s own multitalented Grammy-nominated artist \u003ca href=\"https://www.msryannicole.com/\" target=\"_blank\" rel=\"noopener noreferrer\">RyanNicole\u003c/a>, there will be a formal segment of the evening where Champion for Youth Awards will be given to entertainer and community advocate Mistah F.A.B., activist and BART Board Director Lateefah Simon, organizer and educator Nehanda Imara, and the South Bay’s André Chapman, founder of Unity Care.\u003c/p>\n\u003cp>This all-star lineup comes together for a good cause in the face of the ever-increasing challenges in our world—a global pandemic, rising gun violence and more, says Wilson. “To solve the problems of today, it’s going to take radical imagination,” Wilson tells me. “And when I think about Afrofuturism, it inspires radical imagination for me.”\u003c/p>\n\u003cp>Motivated by the idea of the fictional utopia of Wakanda from the movie \u003cem>Black Panther\u003c/em>—and in the wake of the \u003ca href=\"https://www.youtube.com/watch?v=RlOB3UALvrQ\" target=\"_blank\" rel=\"noopener noreferrer\">recently dropped trailed for \u003cem>Wakanda Forever\u003c/em>\u003c/a>—this year’s theme is “Oakanda.”\u003c/p>\n\u003cp>Wilson asks rhetorically, “What if we could build the Oakanda of our dreams? What if we did engage in that radical imagination?”\u003c/p>\n\u003cp>Wilson, a firm believer that the key to liberation is joy, adds, “That’s why we wanted to make sure that we have so many different elements of joy in this event, so many things that are celebrating \u003cem>the culture\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Black Futures Ball gets underway on Saturday, Aug. 6, at the Bridge Yard in Oakland. \u003ca href=\"https://www.eventbrite.com/e/eoydc-fundraiser-the-black-futures-ball-tickets-350040379197\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meet the East Bay Shop Cranking Out Warriors T-Shirts for the Finals",
"headTitle": "Meet the East Bay Shop Cranking Out Warriors T-Shirts for the Finals | KQED",
"content": "\u003cp>Jeremy Castro couldn’t stand watching Warriors fans \u003ca href=\"https://www.youtube.com/watch?v=g6NbSFIH7tU\" rel=\"noopener noreferrer\" target=\"_blank\">throw their gold promotional shirts\u003c/a> at NBA analyst and noted Warriors hater Charles Barkley on national TV. After all, he’s trying to cut waste from his San Leandro screen printing shop.\u003c/p>\n\u003cp>“That’s not what they’re for,” says Castro, a day after the Warriors eliminated the Dallas Mavericks and fans unleashed on Barkley outside of San Francisco’s Chase Center.\u003c/p>\n\u003cp>It’s a Friday afternoon, and in the humming warehouse of Castro’s shop \u003ca href=\"https://www.instagram.com/brandmarinade/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Brand Marinade\u003c/a>, production has started on the NBA Finals variation of “Gold Blooded” shirts that will be draped over 18,000 seats before each Warriors home game. Golden State faces the Boston Celtics in search of its fourth title in eight seasons, with Game 1 on Thursday, June 2, at Chase Center.\u003c/p>\n\u003cp>In the world of sports merchandising, Brand Marinade is a relatively small, local operation working around the clock to meet demand for its largest contract yet. Rooted in the Bay Area with a hip-hop background, the company is a natural fit with the Warriors—even while navigating supply issues and reacting quickly to wins and losses. \u003c/p>\n\u003cfigure id=\"attachment_13914243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/006_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13914243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/006_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/006_KQEDArts_WarriorsFinalsTShirts_05272022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/006_KQEDArts_WarriorsFinalsTShirts_05272022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/006_KQEDArts_WarriorsFinalsTShirts_05272022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/006_KQEDArts_WarriorsFinalsTShirts_05272022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/006_KQEDArts_WarriorsFinalsTShirts_05272022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rich Diaz prepares Warriors finals t-shirts to print on the sleeve at Brand Marinade screen printing shop in San Leandro on May 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Having people wear something with pride is my passion,” says Castro, 45, who believes an arena flooded in gold can provide a home-court advantage. He may be right: the Warriors are 9-0 at home this postseason.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It takes five days for Castro’s team to print 20,000 shirts—two-plus days if they work through the night, rotating shifts. But, as he puts it, “The energy from the shirts is exponential.”\u003c/p>\n\u003ch2>Predicting Wins and Losses\u003c/h2>\n\u003cp>If you’re struggling to find an extra-large gold shirt this summer, Todd Schneiderman is to blame. His Nashville-based company, Something Inked, is the Warriors’ promotions partner. In January, the vice president of sales evaluated the national sports landscape and purchased large quantities of color shirts. The Warriors’ gold shirts could have easily been gold Michigan Wolverines championship shirts, or gold Nashville Predators playoff shirts, or gold Indiana Pacers… (actually, never mind). This year, blue shirts expected to be printed for the Los Angeles Clippers, who missed the playoffs, ended up with Mavericks fans for the series against the Warriors.\u003c/p>\n\u003cp>The promotional shirts are extra large because, as Castro explains, “A fat guy can squeeze into it, a small person can swear it into a dress or to bed, women can cut it up as a halter top. Then you don’t have to deal with the size issue, which is the biggest challenge with T-shirts.”\u003c/p>\n\u003cfigure id=\"attachment_13914238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/003_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13914238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/003_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/003_KQEDArts_WarriorsFinalsTShirts_05272022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/003_KQEDArts_WarriorsFinalsTShirts_05272022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/003_KQEDArts_WarriorsFinalsTShirts_05272022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/003_KQEDArts_WarriorsFinalsTShirts_05272022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/003_KQEDArts_WarriorsFinalsTShirts_05272022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An employee folds Warriors finals t-shirts at Brand Marinade screen printing shop in San Leandro on May 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like a Las Vegas odds-maker, Schneiderman projects game outcomes to help printers have enough time to produce inventory while limiting waste. During the West finals, after the Warriors took a 3-0 series lead, Castro printed a “pre-buy” batch of shirts in case the Warriors lost Game 4—they did—and the series returned to Chase Center for Game 5. The risk is that if the Warriors had won Game 4 to end the series, shirts made for Game 5 would likely have been given away at Finals watch parties. The biggest risk, of course, is printing championship apparel in advance for a team that loses the title. Those shirts are trashed or shipped to other countries.\u003c/p>\n\u003cp>“I am kind of numb to it at this point,” says Schneiderman of having production determined by a Stephen Curry three-pointer or Draymond Green blocked shot. “It’s more of a sick-to-the-stomach feeling. The same thing happened with the Grizzlies, when the Warriors had that crap game (prompting a Game 6 at Chase Center).”\u003c/p>\n\u003cp>Schneiderman couldn’t procure enough gold shirts for the entire playoffs, so fans received black “Gold Blooded” shirts for the first two rounds. “It didn’t have the same effect,” he admits. \u003c/p>\n\u003cp>For Warriors shirt orders, Schneiderman typically works with Blue Frog, a shop in San Leandro. When Blue Frog had a backlog of orders, the print company outsourced much of the Warriors project to Brand Marinade. Castro, who founded Brand Marinade in 2009 and had never received an order this large, put less time-sensitive orders on hold and jumped at the chance.\u003c/p>\n\u003cfigure id=\"attachment_13914241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/027_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13914241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/027_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/027_KQEDArts_WarriorsFinalsTShirts_05272022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/027_KQEDArts_WarriorsFinalsTShirts_05272022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/027_KQEDArts_WarriorsFinalsTShirts_05272022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/027_KQEDArts_WarriorsFinalsTShirts_05272022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/027_KQEDArts_WarriorsFinalsTShirts_05272022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Castro, the owner of Brand Marinade, poses for a portrait at the screen printing shop in San Leandro on May 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An East Bay Operation\u003c/h2>\n\u003cp>Over the past decade, Castro estimates 50% of local print shops have closed or left the Bay Area for cheaper rent. Supply-chain bottlenecks, compounded by the coronavirus shutdown and subsequent restrictions, have put a premium on printing locally to reduce delivery time.\u003c/p>\n\u003cp>On Friday in San Leandro, an eight-color, 10-station press prints the new “Gold Blooded” design—provided by the Warriors—to the front of the gold shirts. The freshly printed logo is then cured with a dryer, after which the shirts are stacked and moved to another press that prints a shoulder sleeve logo of that round’s playoff sponsor. Before the shirts leave the warehouse, they’re folded and boxed for distribution at Chase Center, where they’re neatly placed on seats before fans enter the arena. \u003c/p>\n\u003cp>On a high shelf in the warehouse, Castro points to a small screen printer once used by his uncle to teach inmates at San Quentin State Prison. Castro was gifted the printer, and as an Alameda High School math teacher in 2003, he used it to make spirit week shirts for the campus.\u003c/p>\n\u003cp>The Alameda native has been hooked by the power of apparel ever since.\u003c/p>\n\u003cfigure id=\"attachment_13914239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/018_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13914239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/018_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/018_KQEDArts_WarriorsFinalsTShirts_05272022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/018_KQEDArts_WarriorsFinalsTShirts_05272022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/018_KQEDArts_WarriorsFinalsTShirts_05272022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/018_KQEDArts_WarriorsFinalsTShirts_05272022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/018_KQEDArts_WarriorsFinalsTShirts_05272022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Screens for Too Short line a shelf at Brand Marinade screen printing shop in San Leandro on May 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2020, when Mali Watkins, a Black man, was wrestled to the ground and arrested by Alameda police for dancing in the street, Castro printed “Dancing In The Street For Justice” shirts in protest. During the coronavirus quarantine that same year, he converted shirt inventory to masks and donated them throughout Oakland with NFL star Marshawn Lynch. When wildfires ravaged the state, Castro donated color-coded shirts to help organize volunteers.\u003c/p>\n\u003cp>Brand Marinade’s high-profile clients include Lynch, whose Beast Mode apparel is synonymous with Oakland culture; Oakland rapper Too Short; and Ruff Ryders, the label of the late East Coast rapper DMX. An influx of prospective corporate contracts gives Castro hope that he’ll reach a goal of 50 employees, and move out of the 15,000-square-foot warehouse.\u003c/p>\n\u003ch2>The Championship Grind\u003c/h2>\n\u003cp>If Golden State reaches a potential title-clinching game, Castro plans to hold a staff viewing party in the warehouse. Should the Warriors prevail, Brand Marinade would start 36 consecutive hours of printing to meet the demands of retail, as well as a victory parade.\u003c/p>\n\u003cfigure id=\"attachment_13914240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/021_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13914240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/021_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/021_KQEDArts_WarriorsFinalsTShirts_05272022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/021_KQEDArts_WarriorsFinalsTShirts_05272022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/021_KQEDArts_WarriorsFinalsTShirts_05272022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/021_KQEDArts_WarriorsFinalsTShirts_05272022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/021_KQEDArts_WarriorsFinalsTShirts_05272022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Employees fold piles of Warriors finals t-shirts at Brand Marinade screen printing shop in San Leandro on May 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Manager Nick Hankins is one of the few Brand Marinade employees who has experienced the championship grind, having worked for a Sacramento shop that produced postseason gear during the San Francisco Giants’ 2012 championship run.\u003c/p>\n\u003cp>As for keeping a positive attitude through the arduous and often monotonous process, workers rely on “jokes, music and snacks,” Hankins says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It can be physically challenging on the production side,” he adds. “This is one of the biggest projects anyone has seen here.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jeremy Castro couldn’t stand watching Warriors fans \u003ca href=\"https://www.youtube.com/watch?v=g6NbSFIH7tU\" rel=\"noopener noreferrer\" target=\"_blank\">throw their gold promotional shirts\u003c/a> at NBA analyst and noted Warriors hater Charles Barkley on national TV. After all, he’s trying to cut waste from his San Leandro screen printing shop.\u003c/p>\n\u003cp>“That’s not what they’re for,” says Castro, a day after the Warriors eliminated the Dallas Mavericks and fans unleashed on Barkley outside of San Francisco’s Chase Center.\u003c/p>\n\u003cp>It’s a Friday afternoon, and in the humming warehouse of Castro’s shop \u003ca href=\"https://www.instagram.com/brandmarinade/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Brand Marinade\u003c/a>, production has started on the NBA Finals variation of “Gold Blooded” shirts that will be draped over 18,000 seats before each Warriors home game. Golden State faces the Boston Celtics in search of its fourth title in eight seasons, with Game 1 on Thursday, June 2, at Chase Center.\u003c/p>\n\u003cp>In the world of sports merchandising, Brand Marinade is a relatively small, local operation working around the clock to meet demand for its largest contract yet. Rooted in the Bay Area with a hip-hop background, the company is a natural fit with the Warriors—even while navigating supply issues and reacting quickly to wins and losses. \u003c/p>\n\u003cfigure id=\"attachment_13914243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/006_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13914243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/006_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/006_KQEDArts_WarriorsFinalsTShirts_05272022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/006_KQEDArts_WarriorsFinalsTShirts_05272022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/006_KQEDArts_WarriorsFinalsTShirts_05272022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/006_KQEDArts_WarriorsFinalsTShirts_05272022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/006_KQEDArts_WarriorsFinalsTShirts_05272022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rich Diaz prepares Warriors finals t-shirts to print on the sleeve at Brand Marinade screen printing shop in San Leandro on May 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Having people wear something with pride is my passion,” says Castro, 45, who believes an arena flooded in gold can provide a home-court advantage. He may be right: the Warriors are 9-0 at home this postseason.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It takes five days for Castro’s team to print 20,000 shirts—two-plus days if they work through the night, rotating shifts. But, as he puts it, “The energy from the shirts is exponential.”\u003c/p>\n\u003ch2>Predicting Wins and Losses\u003c/h2>\n\u003cp>If you’re struggling to find an extra-large gold shirt this summer, Todd Schneiderman is to blame. His Nashville-based company, Something Inked, is the Warriors’ promotions partner. In January, the vice president of sales evaluated the national sports landscape and purchased large quantities of color shirts. The Warriors’ gold shirts could have easily been gold Michigan Wolverines championship shirts, or gold Nashville Predators playoff shirts, or gold Indiana Pacers… (actually, never mind). This year, blue shirts expected to be printed for the Los Angeles Clippers, who missed the playoffs, ended up with Mavericks fans for the series against the Warriors.\u003c/p>\n\u003cp>The promotional shirts are extra large because, as Castro explains, “A fat guy can squeeze into it, a small person can swear it into a dress or to bed, women can cut it up as a halter top. Then you don’t have to deal with the size issue, which is the biggest challenge with T-shirts.”\u003c/p>\n\u003cfigure id=\"attachment_13914238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/003_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13914238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/003_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/003_KQEDArts_WarriorsFinalsTShirts_05272022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/003_KQEDArts_WarriorsFinalsTShirts_05272022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/003_KQEDArts_WarriorsFinalsTShirts_05272022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/003_KQEDArts_WarriorsFinalsTShirts_05272022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/003_KQEDArts_WarriorsFinalsTShirts_05272022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An employee folds Warriors finals t-shirts at Brand Marinade screen printing shop in San Leandro on May 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like a Las Vegas odds-maker, Schneiderman projects game outcomes to help printers have enough time to produce inventory while limiting waste. During the West finals, after the Warriors took a 3-0 series lead, Castro printed a “pre-buy” batch of shirts in case the Warriors lost Game 4—they did—and the series returned to Chase Center for Game 5. The risk is that if the Warriors had won Game 4 to end the series, shirts made for Game 5 would likely have been given away at Finals watch parties. The biggest risk, of course, is printing championship apparel in advance for a team that loses the title. Those shirts are trashed or shipped to other countries.\u003c/p>\n\u003cp>“I am kind of numb to it at this point,” says Schneiderman of having production determined by a Stephen Curry three-pointer or Draymond Green blocked shot. “It’s more of a sick-to-the-stomach feeling. The same thing happened with the Grizzlies, when the Warriors had that crap game (prompting a Game 6 at Chase Center).”\u003c/p>\n\u003cp>Schneiderman couldn’t procure enough gold shirts for the entire playoffs, so fans received black “Gold Blooded” shirts for the first two rounds. “It didn’t have the same effect,” he admits. \u003c/p>\n\u003cp>For Warriors shirt orders, Schneiderman typically works with Blue Frog, a shop in San Leandro. When Blue Frog had a backlog of orders, the print company outsourced much of the Warriors project to Brand Marinade. Castro, who founded Brand Marinade in 2009 and had never received an order this large, put less time-sensitive orders on hold and jumped at the chance.\u003c/p>\n\u003cfigure id=\"attachment_13914241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/027_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13914241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/027_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/027_KQEDArts_WarriorsFinalsTShirts_05272022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/027_KQEDArts_WarriorsFinalsTShirts_05272022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/027_KQEDArts_WarriorsFinalsTShirts_05272022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/027_KQEDArts_WarriorsFinalsTShirts_05272022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/027_KQEDArts_WarriorsFinalsTShirts_05272022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Castro, the owner of Brand Marinade, poses for a portrait at the screen printing shop in San Leandro on May 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An East Bay Operation\u003c/h2>\n\u003cp>Over the past decade, Castro estimates 50% of local print shops have closed or left the Bay Area for cheaper rent. Supply-chain bottlenecks, compounded by the coronavirus shutdown and subsequent restrictions, have put a premium on printing locally to reduce delivery time.\u003c/p>\n\u003cp>On Friday in San Leandro, an eight-color, 10-station press prints the new “Gold Blooded” design—provided by the Warriors—to the front of the gold shirts. The freshly printed logo is then cured with a dryer, after which the shirts are stacked and moved to another press that prints a shoulder sleeve logo of that round’s playoff sponsor. Before the shirts leave the warehouse, they’re folded and boxed for distribution at Chase Center, where they’re neatly placed on seats before fans enter the arena. \u003c/p>\n\u003cp>On a high shelf in the warehouse, Castro points to a small screen printer once used by his uncle to teach inmates at San Quentin State Prison. Castro was gifted the printer, and as an Alameda High School math teacher in 2003, he used it to make spirit week shirts for the campus.\u003c/p>\n\u003cp>The Alameda native has been hooked by the power of apparel ever since.\u003c/p>\n\u003cfigure id=\"attachment_13914239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/018_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13914239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/018_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/018_KQEDArts_WarriorsFinalsTShirts_05272022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/018_KQEDArts_WarriorsFinalsTShirts_05272022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/018_KQEDArts_WarriorsFinalsTShirts_05272022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/018_KQEDArts_WarriorsFinalsTShirts_05272022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/018_KQEDArts_WarriorsFinalsTShirts_05272022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Screens for Too Short line a shelf at Brand Marinade screen printing shop in San Leandro on May 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2020, when Mali Watkins, a Black man, was wrestled to the ground and arrested by Alameda police for dancing in the street, Castro printed “Dancing In The Street For Justice” shirts in protest. During the coronavirus quarantine that same year, he converted shirt inventory to masks and donated them throughout Oakland with NFL star Marshawn Lynch. When wildfires ravaged the state, Castro donated color-coded shirts to help organize volunteers.\u003c/p>\n\u003cp>Brand Marinade’s high-profile clients include Lynch, whose Beast Mode apparel is synonymous with Oakland culture; Oakland rapper Too Short; and Ruff Ryders, the label of the late East Coast rapper DMX. An influx of prospective corporate contracts gives Castro hope that he’ll reach a goal of 50 employees, and move out of the 15,000-square-foot warehouse.\u003c/p>\n\u003ch2>The Championship Grind\u003c/h2>\n\u003cp>If Golden State reaches a potential title-clinching game, Castro plans to hold a staff viewing party in the warehouse. Should the Warriors prevail, Brand Marinade would start 36 consecutive hours of printing to meet the demands of retail, as well as a victory parade.\u003c/p>\n\u003cfigure id=\"attachment_13914240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/021_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13914240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/021_KQEDArts_WarriorsFinalsTShirts_05272022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/021_KQEDArts_WarriorsFinalsTShirts_05272022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/021_KQEDArts_WarriorsFinalsTShirts_05272022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/021_KQEDArts_WarriorsFinalsTShirts_05272022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/021_KQEDArts_WarriorsFinalsTShirts_05272022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/021_KQEDArts_WarriorsFinalsTShirts_05272022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Employees fold piles of Warriors finals t-shirts at Brand Marinade screen printing shop in San Leandro on May 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Manager Nick Hankins is one of the few Brand Marinade employees who has experienced the championship grind, having worked for a Sacramento shop that produced postseason gear during the San Francisco Giants’ 2012 championship run.\u003c/p>\n\u003cp>As for keeping a positive attitude through the arduous and often monotonous process, workers rely on “jokes, music and snacks,” Hankins says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It can be physically challenging on the production side,” he adds. “This is one of the biggest projects anyone has seen here.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The ‘Gilded Glamour’ (and Unchecked Folly) of the 2022 Met Gala",
"headTitle": "The ‘Gilded Glamour’ (and Unchecked Folly) of the 2022 Met Gala | KQED",
"content": "\u003cp>If you, like me, feel as if the 2021 Met Gala only just happened, give yourself a hearty pat on the back for your instincts are correct. The last one was all of six and a half months ago, which is easy to remember because everyone showed up wearing tents. (September in New York, eh?)\u003c/p>\n\u003cp>[aside postid='arts_13902995']Initially, due to the “Gilded Glamour” theme, it seemed like MG’22 was simply going to be a chic affair that made everyone not in attendance feel like gross, poverty-stricken plebeians. (Which it kind of does every year once you realize that it costs $35,000 per person to attend. Meaning a single table costs between $200,000 and $300,000.)\u003c/p>\n\u003cp>Indeed, the theme did lend itself to attracting many elegant and enviable gowns. Like Janelle Monáe’s, which took her established android vibe to an even more stunning place than usual:\u003c/p>\n\u003cfigure id=\"attachment_13912820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395043602-800x573.jpg\" alt=\"Janeelle Monae in a sleek black gown with short train, low back and a silver hood and chest embellishment.\" width=\"800\" height=\"573\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe in an outfit that immediately made me think of that one Beastie Boys song where Ad-Rock shouts, “Don’t touch me ’cause I’m electric! And if you touch me, you’ll get shocked!” … In a good way. \u003ccite>(Cindy Ord/MG22/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there was Tessa Thompson looking like an actual dream:\u003c/p>\n\u003cfigure id=\"attachment_13912821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912821\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395044573-800x534.jpg\" alt=\"Tessa Thompson wearing a pale pink dress with sculpted bodice and skirt and layered train.\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson in that one dress every girly girl has been dreaming about since they were 4 years old. \u003ccite>(John Shearer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sabrina Carpenter somehow made a belly-dancing-costume-inspired ensemble seem effortlessly cool:\u003c/p>\n\u003cfigure id=\"attachment_13912823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912823\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395045841-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">A gold bra, bare midriff and flowing gold skirt shouldn’t work in this particular context, but holy crap, it so does on Sabrina. \u003ccite>(Kevin Mazur/MG22/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lizzo showed up looking like royalty, stopping only to play the flute (\u003cem>a goddamn gold flute!\u003c/em>) on the red carpet:\u003c/p>\n\u003cfigure id=\"attachment_13912831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912831\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395052911-800x533.jpg\" alt=\"Lizzo wearing a black ensemble with gold embroidery plays a gold flute on the red carpet, hair cascading over her shoulders.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">We must protect this woman at all costs. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Kid Cudi demonstrated how you Man Fashion without making a sorry spectacle of yourself:\u003c/p>\n\u003cfigure id=\"attachment_13912833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912833\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395053339-800x1200.jpg\" alt=\"Kid Cudi wearing a white shirt with frilled cuffs, black bow tie, bold blue suit and a matching blue cape.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395053339-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395053339-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395053339-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395053339-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395053339-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395053339-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395053339-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395053339-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yes-yes. Yes-yes-yes. \u003ccite>(Theo Wargo/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is kind of the opposite of what Bad Bunny did in this butcher paper moment and matronly up-do:\u003c/p>\n\u003cfigure id=\"attachment_13912825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912825\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395048721-800x1200.jpg\" alt=\"Bad Bunny in a slender, full-length beige coat with puffy sleeves and a white shirt and black tie underneath.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048721-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048721-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048721-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048721-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048721-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048721-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048721-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048721-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny wearing a face that suggests he’s having a really hard time trusting this process. And frankly, who can blame him? \u003ccite>(Kevin Mazur/MG22/Getty Images for The Met Museum/Vogue )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also cringe was the kid from \u003cem>The Power of the Dog\u003c/em> who showed up looking like he slept through his alarm, rolled out of bed and, in a panic, made a quick stop at grandma’s to grab a brooch and her best dishwashing gloves. (\u003cem>Who did this to you, Kodi Smit-McPhee?\u003c/em>)\u003c/p>\n\u003cfigure id=\"attachment_13912818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912818\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395042146-800x1200.jpg\" alt=\"Kodi Smit-McPhee wearing a white shirt, tucked into casual blue jeans with no belt. A brooch sits at his collar where a tie would ordinarily be, and his hands and forearms are covered by bright red gloves.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395042146-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395042146-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395042146-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395042146-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395042146-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395042146-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395042146-1920x2879.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395042146-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kodi Smit-McPhee’s stylist heard the words “Gilded Glamour” and came up with … this. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the opposite end of the effort scale was fashion entrepreneur (whatever that means), Fredrik Robertsson. Robertsson showed up in an ensemble so patently ridiculous, people thought he was Jared Leto for a full 10 minutes. (I mean… the self-satisfied glare \u003cem>does\u003c/em> bear an incredible similarity…)\u003c/p>\n\u003cfigure id=\"attachment_13912826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395048660-800x1200.jpg\" alt=\"A white man wearing a silver ensemble with layers of tendrils stretching up and around from his body.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048660-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048660-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048660-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048660-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048660-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048660-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048660-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048660-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Somebody at some point looked at this ensemble and went: “You know what this needs? Bell bottoms.” \u003ccite>(Jeff Kravitz/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of which managed to make \u003ca href=\"https://www.kqed.org/arts/13865555/thirty-seconds-to-mars-jared-leto-started-a-cult-because-of-course-he-did\" target=\"_blank\" rel=\"noopener noreferrer\">Jared Leto look less like a cult leader\u003c/a> for a spell. And—who knew?—all he had to do was arrive wearing … not a be-tendrilled silver skin suit from a 1970s roller disco movie in space.\u003c/p>\n\u003cfigure id=\"attachment_13912828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395048467-800x533.jpg\" alt=\"Jared Leto in a cream double breasted suit with black collar and button and red bow tie. He also wears dark sunglasses and black leather gloves.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048467-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048467-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048467-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048467-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048467-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048467-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048467-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Is Jared Leto, like, normal now? Or did that Fred guy just mess with my perspective? \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wait! No! There it is!\u003c/p>\n\u003cfigure id=\"attachment_13912830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912830\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395047845-800x533.jpg\" alt=\"Allesandro Michele and Jared Leto stand on the Met Gala red carpet in head-to-toe matching outfits.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Jared brought a twin with him, in the form of Italian designer Alessandro Michele. That’s more like it, Jared, you insufferable fool! \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, even as some of the kook on display took itself to a trying-too-hard place, some stars got weird in the best way possible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Winnie Harlow, who took a \u003cem>Flash Gordon\u003c/em> headpiece and some taffeta and made it frickin’ fabulous:\u003c/p>\n\u003cfigure id=\"attachment_13912822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395045583-800x1200.jpg\" alt=\"Winnie Harlow in an ethereal short white, lily-like dress with silver embellishments, plus white headdress with tiers of wings either side of her face.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395045583-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395045583-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395045583-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395045583-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395045583-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395045583-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395045583-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395045583-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Now THIS is how you headdress. \u003ccite>(Kevin Mazur/MG22/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Emma Corrin, who somehow made ‘Pageboy From A Haunted Painting In Tilda Swinton’s Country Mansion’ work:\u003c/p>\n\u003cfigure id=\"attachment_13912834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912834\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395055983-800x1200.jpg\" alt=\"Emma Corrin, wearing white tights, a sleeveless black military coat, black oversized shorts, pocket watch and black top hat, with tartan coat slung over her shoulder. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395055983-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395055983-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395055983-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395055983-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395055983-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395055983-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395055983-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395055983-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">If you say “Princess Diana” three times into a mirror during a full moon, this is what appears behind you. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kendall Jenner also deserves an honorary mention for having faith that she would look dope with with no eyebrows. Because, it turns out, she looks dope with no eyebrows:\u003c/p>\n\u003cfigure id=\"attachment_13912832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912832\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395053012-800x533.jpg\" alt=\"Kendall Jenner wears her long brown hair in a center part with simple teardrop earrings. Her eyebrows have been bleached and are now almost invisible.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Like the vast majority of women who were alive in the late-1990s, Kendall Jenner no longer has any eyebrows. \u003ccite>(Theo Wargo/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other things to note that no one actually wants to see here:\u003c/p>\n\u003cul>\n\u003cli>Elon Musk showed up looking like the haunted mannequin from Kodi Smit-McPhee’s grandma’s attic.\u003c/li>\n\u003cli>Bella Hadid arrived like the shadow person from Kodi Smit-McPhee’s grandma’s basement.\u003c/li>\n\u003cli>Gigi Hadid came dressed as an inflatable red slide from \u003cem>The Fifth Element\u003c/em>, thereby bringing the ’90s revival to its natural conclusion.\u003c/li>\n\u003cli>Dakota Johnson was dressed like an updated version of Zuul from \u003cem>Ghostbusters\u003c/em>, but it was kinda-sorta okay (even though a Rottweiler accessory would really have completed the look).\u003c/li>\n\u003cli>Kim Kardashian and Pete Davidson looked actually very cute together and I can’t talk about it while I’m still processing.\u003c/li>\n\u003cli>Travis Barker decided he simply must put his tongue in Kourtney Kardashian’s mouth on the red carpet, lest there was a person left on Earth that hadn’t seen him do that yet.\u003c/li>\n\u003cli>Kylie Jenner wore a wedding-veil-attached-to-a-white-baseball-cap and no one cares if you married Travis Scott dude.\u003c/li>\n\u003cli>I don’t want to say anything bad about the wonder that is Chloe Bailey, so I’m just going to leave this photo here, back out of the room slowly like Homer Simpson into that hedge, and glare at her stylist from afar.\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13912827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912827\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395048650-800x1200.jpg\" alt=\"Chloe Bailey wears a gold gown with high leg slit that appears at first to be form fitting, but features strange angles and lumps protruding from the bodice at strange angles.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048650-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048650-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048650-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048650-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048650-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048650-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048650-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048650-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Is that the shape of your dress, or are you just hiding giant Easter eggs from me? \u003ccite>(Arturo Holmes/MG22/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Met Gala was hosted by Regina King, Lin-Manuel Miranda, Blake Lively and Ryan Reynolds—all of whom looked lovely in a forgettable sort of way. Probably because they were paid to be there and don’t need the column inches.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Until next year! (Or… you know… six and a half months—pandemic conditions permitting.)\u003c/p>\n\n",
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"excerpt": "Spoiler alert: Kendall Jenner’s got no eyebrows and Emma Corrin somehow made ‘Pageboy From A Haunted Painting’ work.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you, like me, feel as if the 2021 Met Gala only just happened, give yourself a hearty pat on the back for your instincts are correct. The last one was all of six and a half months ago, which is easy to remember because everyone showed up wearing tents. (September in New York, eh?)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Initially, due to the “Gilded Glamour” theme, it seemed like MG’22 was simply going to be a chic affair that made everyone not in attendance feel like gross, poverty-stricken plebeians. (Which it kind of does every year once you realize that it costs $35,000 per person to attend. Meaning a single table costs between $200,000 and $300,000.)\u003c/p>\n\u003cp>Indeed, the theme did lend itself to attracting many elegant and enviable gowns. Like Janelle Monáe’s, which took her established android vibe to an even more stunning place than usual:\u003c/p>\n\u003cfigure id=\"attachment_13912820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395043602-800x573.jpg\" alt=\"Janeelle Monae in a sleek black gown with short train, low back and a silver hood and chest embellishment.\" width=\"800\" height=\"573\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe in an outfit that immediately made me think of that one Beastie Boys song where Ad-Rock shouts, “Don’t touch me ’cause I’m electric! And if you touch me, you’ll get shocked!” … In a good way. \u003ccite>(Cindy Ord/MG22/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there was Tessa Thompson looking like an actual dream:\u003c/p>\n\u003cfigure id=\"attachment_13912821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912821\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395044573-800x534.jpg\" alt=\"Tessa Thompson wearing a pale pink dress with sculpted bodice and skirt and layered train.\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson in that one dress every girly girl has been dreaming about since they were 4 years old. \u003ccite>(John Shearer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sabrina Carpenter somehow made a belly-dancing-costume-inspired ensemble seem effortlessly cool:\u003c/p>\n\u003cfigure id=\"attachment_13912823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912823\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395045841-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">A gold bra, bare midriff and flowing gold skirt shouldn’t work in this particular context, but holy crap, it so does on Sabrina. \u003ccite>(Kevin Mazur/MG22/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lizzo showed up looking like royalty, stopping only to play the flute (\u003cem>a goddamn gold flute!\u003c/em>) on the red carpet:\u003c/p>\n\u003cfigure id=\"attachment_13912831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912831\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395052911-800x533.jpg\" alt=\"Lizzo wearing a black ensemble with gold embroidery plays a gold flute on the red carpet, hair cascading over her shoulders.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">We must protect this woman at all costs. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Kid Cudi demonstrated how you Man Fashion without making a sorry spectacle of yourself:\u003c/p>\n\u003cfigure id=\"attachment_13912833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912833\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395053339-800x1200.jpg\" alt=\"Kid Cudi wearing a white shirt with frilled cuffs, black bow tie, bold blue suit and a matching blue cape.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395053339-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395053339-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395053339-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395053339-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395053339-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395053339-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395053339-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395053339-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yes-yes. Yes-yes-yes. \u003ccite>(Theo Wargo/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is kind of the opposite of what Bad Bunny did in this butcher paper moment and matronly up-do:\u003c/p>\n\u003cfigure id=\"attachment_13912825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912825\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395048721-800x1200.jpg\" alt=\"Bad Bunny in a slender, full-length beige coat with puffy sleeves and a white shirt and black tie underneath.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048721-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048721-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048721-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048721-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048721-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048721-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048721-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048721-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bad Bunny wearing a face that suggests he’s having a really hard time trusting this process. And frankly, who can blame him? \u003ccite>(Kevin Mazur/MG22/Getty Images for The Met Museum/Vogue )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also cringe was the kid from \u003cem>The Power of the Dog\u003c/em> who showed up looking like he slept through his alarm, rolled out of bed and, in a panic, made a quick stop at grandma’s to grab a brooch and her best dishwashing gloves. (\u003cem>Who did this to you, Kodi Smit-McPhee?\u003c/em>)\u003c/p>\n\u003cfigure id=\"attachment_13912818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912818\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395042146-800x1200.jpg\" alt=\"Kodi Smit-McPhee wearing a white shirt, tucked into casual blue jeans with no belt. A brooch sits at his collar where a tie would ordinarily be, and his hands and forearms are covered by bright red gloves.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395042146-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395042146-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395042146-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395042146-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395042146-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395042146-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395042146-1920x2879.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395042146-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kodi Smit-McPhee’s stylist heard the words “Gilded Glamour” and came up with … this. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the opposite end of the effort scale was fashion entrepreneur (whatever that means), Fredrik Robertsson. Robertsson showed up in an ensemble so patently ridiculous, people thought he was Jared Leto for a full 10 minutes. (I mean… the self-satisfied glare \u003cem>does\u003c/em> bear an incredible similarity…)\u003c/p>\n\u003cfigure id=\"attachment_13912826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395048660-800x1200.jpg\" alt=\"A white man wearing a silver ensemble with layers of tendrils stretching up and around from his body.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048660-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048660-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048660-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048660-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048660-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048660-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048660-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048660-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Somebody at some point looked at this ensemble and went: “You know what this needs? Bell bottoms.” \u003ccite>(Jeff Kravitz/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of which managed to make \u003ca href=\"https://www.kqed.org/arts/13865555/thirty-seconds-to-mars-jared-leto-started-a-cult-because-of-course-he-did\" target=\"_blank\" rel=\"noopener noreferrer\">Jared Leto look less like a cult leader\u003c/a> for a spell. And—who knew?—all he had to do was arrive wearing … not a be-tendrilled silver skin suit from a 1970s roller disco movie in space.\u003c/p>\n\u003cfigure id=\"attachment_13912828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395048467-800x533.jpg\" alt=\"Jared Leto in a cream double breasted suit with black collar and button and red bow tie. He also wears dark sunglasses and black leather gloves.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048467-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048467-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048467-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048467-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048467-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048467-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048467-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Is Jared Leto, like, normal now? Or did that Fred guy just mess with my perspective? \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wait! No! There it is!\u003c/p>\n\u003cfigure id=\"attachment_13912830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912830\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395047845-800x533.jpg\" alt=\"Allesandro Michele and Jared Leto stand on the Met Gala red carpet in head-to-toe matching outfits.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Jared brought a twin with him, in the form of Italian designer Alessandro Michele. That’s more like it, Jared, you insufferable fool! \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, even as some of the kook on display took itself to a trying-too-hard place, some stars got weird in the best way possible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Winnie Harlow, who took a \u003cem>Flash Gordon\u003c/em> headpiece and some taffeta and made it frickin’ fabulous:\u003c/p>\n\u003cfigure id=\"attachment_13912822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395045583-800x1200.jpg\" alt=\"Winnie Harlow in an ethereal short white, lily-like dress with silver embellishments, plus white headdress with tiers of wings either side of her face.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395045583-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395045583-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395045583-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395045583-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395045583-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395045583-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395045583-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395045583-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Now THIS is how you headdress. \u003ccite>(Kevin Mazur/MG22/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Emma Corrin, who somehow made ‘Pageboy From A Haunted Painting In Tilda Swinton’s Country Mansion’ work:\u003c/p>\n\u003cfigure id=\"attachment_13912834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912834\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395055983-800x1200.jpg\" alt=\"Emma Corrin, wearing white tights, a sleeveless black military coat, black oversized shorts, pocket watch and black top hat, with tartan coat slung over her shoulder. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395055983-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395055983-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395055983-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395055983-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395055983-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395055983-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395055983-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395055983-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">If you say “Princess Diana” three times into a mirror during a full moon, this is what appears behind you. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kendall Jenner also deserves an honorary mention for having faith that she would look dope with with no eyebrows. Because, it turns out, she looks dope with no eyebrows:\u003c/p>\n\u003cfigure id=\"attachment_13912832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912832\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395053012-800x533.jpg\" alt=\"Kendall Jenner wears her long brown hair in a center part with simple teardrop earrings. Her eyebrows have been bleached and are now almost invisible.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Like the vast majority of women who were alive in the late-1990s, Kendall Jenner no longer has any eyebrows. \u003ccite>(Theo Wargo/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other things to note that no one actually wants to see here:\u003c/p>\n\u003cul>\n\u003cli>Elon Musk showed up looking like the haunted mannequin from Kodi Smit-McPhee’s grandma’s attic.\u003c/li>\n\u003cli>Bella Hadid arrived like the shadow person from Kodi Smit-McPhee’s grandma’s basement.\u003c/li>\n\u003cli>Gigi Hadid came dressed as an inflatable red slide from \u003cem>The Fifth Element\u003c/em>, thereby bringing the ’90s revival to its natural conclusion.\u003c/li>\n\u003cli>Dakota Johnson was dressed like an updated version of Zuul from \u003cem>Ghostbusters\u003c/em>, but it was kinda-sorta okay (even though a Rottweiler accessory would really have completed the look).\u003c/li>\n\u003cli>Kim Kardashian and Pete Davidson looked actually very cute together and I can’t talk about it while I’m still processing.\u003c/li>\n\u003cli>Travis Barker decided he simply must put his tongue in Kourtney Kardashian’s mouth on the red carpet, lest there was a person left on Earth that hadn’t seen him do that yet.\u003c/li>\n\u003cli>Kylie Jenner wore a wedding-veil-attached-to-a-white-baseball-cap and no one cares if you married Travis Scott dude.\u003c/li>\n\u003cli>I don’t want to say anything bad about the wonder that is Chloe Bailey, so I’m just going to leave this photo here, back out of the room slowly like Homer Simpson into that hedge, and glare at her stylist from afar.\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13912827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912827\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/GettyImages-1395048650-800x1200.jpg\" alt=\"Chloe Bailey wears a gold gown with high leg slit that appears at first to be form fitting, but features strange angles and lumps protruding from the bodice at strange angles.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048650-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048650-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048650-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048650-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048650-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048650-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048650-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/GettyImages-1395048650-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Is that the shape of your dress, or are you just hiding giant Easter eggs from me? \u003ccite>(Arturo Holmes/MG22/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Met Gala was hosted by Regina King, Lin-Manuel Miranda, Blake Lively and Ryan Reynolds—all of whom looked lovely in a forgettable sort of way. Probably because they were paid to be there and don’t need the column inches.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Until next year! (Or… you know… six and a half months—pandemic conditions permitting.)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Guo Pei's Fashion at the Legion of Honor Dazzles in a Merger of East and West",
"headTitle": "Guo Pei’s Fashion at the Legion of Honor Dazzles in a Merger of East and West | KQED",
"content": "\u003cp>The first word that comes to mind when entering the Legion of Honor’s \u003cem>Guo Pei: Couture Fantasy\u003c/em> exhibition is “extravagance.” \u003c/p>\n\u003cp>The Chinese designer’s exquisite silk “Da Jin,” for example, inspired by Napoleon Bonaparte’s gold embroidered uniform and Tim Burton’s “Corpse Bride,” is the result of 50,000 hours of work. Each of the 82 dresses in the show represents the fruit of thousands of hours of labor. \u003c/p>\n\u003cp>Guo was born in Beijing in 1967, and while she often draws artistic inspiration from Europe, her work functions as a clear response to China’s Cultural Revolution. Much of her work highlights the idea of rebirth—specifically, the rebirth of a new aristocracy in China. The designs displayed in this exhibition are laborious, luxurious and lavish. \u003c/p>\n\u003cfigure id=\"attachment_13911992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rebirth is a running theme through Guo’s own career. She graduated from the Beijing Second Light Industry School with a degree in fashion design in 1986—at a time when China was moving on from the Cultural Revolution, and when fine art and other luxuries finally began to see a renaissance. \u003c/p>\n\u003cp>With few famous fashion designers to look to within China, Guo turned to the West for inspiration, devouring the films, architecture and artifacts she encountered during her travels to Europe. In the absence of the formal training many European fashion designers undergo, Guo was free to improvise, and forged her own path as China’s first couturier. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibition, much like Guo’s haute couture, is larger-than-life, consisting of several gallery rooms sorted thematically as opposed to chronologically. Her myriad influences include architecture, Catholicism and Buddhism, and florals. Guo also draws inspiration from Chinese legends, including Chang’e and The Journey to the West.\u003c/p>\n\u003cfigure id=\"attachment_13911989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg\" alt=\"\" width=\"800\" height=\"396\" class=\"size-medium wp-image-13911989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1536x761.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, Elysium, Spring-Summer 2018; Guo Pei, Porcelain dress, 1002 Nights collection, 2010; and Guo Pei\u003cbr>East Palace, Spring 2019. \u003ccite>(Lian Xu; Courtesy the artist; Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The true stars of the show, however, are upstairs, where there’s ample room for them to be admired alongside the Legion of Honor’s other collections. There are dresses patterned and presented to evoke chinoiserie, a 17th- and 18th-century Western interpretation of Chinese styles. These dresses take after porcelain; fragile, yet beautiful. \u003c/p>\n\u003cp>Mannequins dressed in Guo’s opulent gowns seem almost out of place as they stand, forlorn, in the centers of rooms adorned with old Western art. (I couldn’t help but feel a sense of camaraderie; perhaps because I know all too well the feeling of being the only Asian person in a room of white people.) \u003c/p>\n\u003cp>While it is this very juxtaposition of the East and the West that makes this exhibition effective, it also lays bare the Legion of Honor’s historical diversity problem—and its \u003ca href=\"https://deyoung.famsf.org/Becoming-an-Anti-Racist-Institution\" rel=\"noopener noreferrer\" target=\"_blank\">recent attempts at righting past wrongs\u003c/a>. This first-ever headlining exhibit at the museum by a living, female fashion designer of color is a commendable move toward centering the work of someone who is not white. \u003c/p>\n\u003cfigure id=\"attachment_13911993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2022, there is no need to distinguish between Eastern and Western art. For centuries, artists have drawn inspiration from other cultures. Art is most powerful when it is understood as an active conversation between cultures, rather than some static artifact. \u003c/p>\n\u003cp>In San Francisco, Eastern art wasn’t always delegated to its own museum. What is today the Asian Art Museum was conceived as a wing within the de Young Museum. (Together, the de Young Museum and the Legion of Honor make up the Fine Arts Museums of San Francisco, or FAMSF.)\u003c/p>\n\u003cp>All of that changed when former International Olympic Committee president Avery Brundage, who \u003ca href=\"https://www.nytimes.com/2020/06/15/arts/design/avery-brundage-bust-asian-art-museum.html\" rel=\"noopener noreferrer\" target=\"_blank\">held racist views\u003c/a>, donated his collection of Asian art in the 1960s on the condition that the wing split from the de Young Museum and become a separate institution. The Legion of Honor then gave most of its collections of Asian art to the newly founded Asian Art Museum, and largely stopped exhibiting Asian art, says Jill D’Alessandro, the curator of costume and textile arts at the FAMSF and curator of the Guo exhibition. \u003c/p>\n\u003cp>But “the textile department never actually adhered to that,” says D’Alessandro. “One of the first curators said, ‘Well, you can’t tell the history of textiles and exclude Asia.’” In recent years, the Legion of Honor has continued collecting Asian art—just differentiated from the work exhibited in the Asian Art Museum, D’Alessandro added, with the style of Guo’s work as a standout example. \u003c/p>\n\u003cfigure id=\"attachment_13911987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, ‘Legend of the Dragon,’ Autumn/Winter 2012, Silk; embroidered with metallic threads, sequins, embellished with Swarovski crystals, rhinestones, metal wire, 70.86 x 62.99 x 39.37 in. \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Make no mistake, \u003cem>Guo Pei: Couture Fantasy\u003c/em> is absolutely a step in the right direction. But what is equally clear is that there is still much work to be done for our museums to give due credit to the contributions of non-white cultures. \u003c/p>\n\u003cp>“It is a museum goal to broaden the artistic canon … and to look at designers or artists outside of the West or [outside of] what we had traditionally shown,” says D’Alessandro, noting that the artistic canon does not solely exist in the West. In recent years, she adds, the Legion of Honor has been asking itself questions about the role it plays in the Bay Area, which has a prominent Asian community. \u003c/p>\n\u003cp>Putting together an exhibition of this scale during a pandemic had its challenges, with time zone differences and language barriers. Surprisingly, dressing the mannequins turned out to be the most challenging hurdle, says D’Alessandro.\u003c/p>\n\u003cp>Since Guo’s team couldn’t physically visit San Francisco to help assemble the exhibit, the team filmed themselves dressing each mannequin from head to toe before sending the clothes overseas. (The resulting videos took four days to upload, according to D’Alessandro.) Using the videos as a guide, the FAMSF team mirrored each step in a time-consuming process. \u003c/p>\n\u003cfigure id=\"attachment_13911997\" class=\"wp-caption aligncenter\" style=\"max-width: 562px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/EX1109.028-1.jpg\" alt=\"\" width=\"562\" height=\"843\" class=\"size-full wp-image-13911997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1.jpg 562w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1-160x240.jpg 160w\" sizes=\"(max-width: 562px) 100vw, 562px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, L’Architecture (Fall/Winter 2018–2019). \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notably absent from the exhibition is the iconic yellow gown that pop star Rihanna wore to the Met Gala in 2015. Guo, by then already an established figure in the international fashion world, found her stature drastically elevated by the Rihanna Met Gala dress, and she became a household name stateside overnight. The decision to forgo the dress was one that came out of lengthy discussions over whether it could create the false impression that Guo is a “one-hit wonder,” says D’Alessandro.\u003c/p>\n\u003cp>It was a smart choice—in part because it gives Guo’s impressive body of work a chance to shine on its own, without being overshadowed by the dress that went viral because of its passing resemblance to an omelet. \u003c/p>\n\u003cp>Indeed, Guo’s work shines here, both literally and figuratively, considering the sheer amount of gold and silver thread she uses. Her entrancing, iridescent gowns, with bold silhouettes and precise needlework, are a treat for the eyes. The intentional placement of these creations by the Legion of Honor’s curatorial staff deserves notice, too. It adds an interesting dimension to Guo’s more saccharine designs. \u003c/p>\n\u003cp>“I have been really moved by Western architecture, culture, and history. I am curious. It’s this strong curiosity that has mesmerized me,” reads a quote attributed to Guo on one of the exhibition’s walls. “I want to know the stories of the West, like Westerners want to learn about the East.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Guo Pei: Couture Fantasy’ is on view at the Legion of Honor Museum in San Francisco from April 16–Sept. 5. \u003ca href=\"https://legionofhonor.famsf.org/guo-pei\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first word that comes to mind when entering the Legion of Honor’s \u003cem>Guo Pei: Couture Fantasy\u003c/em> exhibition is “extravagance.” \u003c/p>\n\u003cp>The Chinese designer’s exquisite silk “Da Jin,” for example, inspired by Napoleon Bonaparte’s gold embroidered uniform and Tim Burton’s “Corpse Bride,” is the result of 50,000 hours of work. Each of the 82 dresses in the show represents the fruit of thousands of hours of labor. \u003c/p>\n\u003cp>Guo was born in Beijing in 1967, and while she often draws artistic inspiration from Europe, her work functions as a clear response to China’s Cultural Revolution. Much of her work highlights the idea of rebirth—specifically, the rebirth of a new aristocracy in China. The designs displayed in this exhibition are laborious, luxurious and lavish. \u003c/p>\n\u003cfigure id=\"attachment_13911992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rebirth is a running theme through Guo’s own career. She graduated from the Beijing Second Light Industry School with a degree in fashion design in 1986—at a time when China was moving on from the Cultural Revolution, and when fine art and other luxuries finally began to see a renaissance. \u003c/p>\n\u003cp>With few famous fashion designers to look to within China, Guo turned to the West for inspiration, devouring the films, architecture and artifacts she encountered during her travels to Europe. In the absence of the formal training many European fashion designers undergo, Guo was free to improvise, and forged her own path as China’s first couturier. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The exhibition, much like Guo’s haute couture, is larger-than-life, consisting of several gallery rooms sorted thematically as opposed to chronologically. Her myriad influences include architecture, Catholicism and Buddhism, and florals. Guo also draws inspiration from Chinese legends, including Chang’e and The Journey to the West.\u003c/p>\n\u003cfigure id=\"attachment_13911989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg\" alt=\"\" width=\"800\" height=\"396\" class=\"size-medium wp-image-13911989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1536x761.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, Elysium, Spring-Summer 2018; Guo Pei, Porcelain dress, 1002 Nights collection, 2010; and Guo Pei\u003cbr>East Palace, Spring 2019. \u003ccite>(Lian Xu; Courtesy the artist; Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The true stars of the show, however, are upstairs, where there’s ample room for them to be admired alongside the Legion of Honor’s other collections. There are dresses patterned and presented to evoke chinoiserie, a 17th- and 18th-century Western interpretation of Chinese styles. These dresses take after porcelain; fragile, yet beautiful. \u003c/p>\n\u003cp>Mannequins dressed in Guo’s opulent gowns seem almost out of place as they stand, forlorn, in the centers of rooms adorned with old Western art. (I couldn’t help but feel a sense of camaraderie; perhaps because I know all too well the feeling of being the only Asian person in a room of white people.) \u003c/p>\n\u003cp>While it is this very juxtaposition of the East and the West that makes this exhibition effective, it also lays bare the Legion of Honor’s historical diversity problem—and its \u003ca href=\"https://deyoung.famsf.org/Becoming-an-Anti-Racist-Institution\" rel=\"noopener noreferrer\" target=\"_blank\">recent attempts at righting past wrongs\u003c/a>. This first-ever headlining exhibit at the museum by a living, female fashion designer of color is a commendable move toward centering the work of someone who is not white. \u003c/p>\n\u003cfigure id=\"attachment_13911993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2022, there is no need to distinguish between Eastern and Western art. For centuries, artists have drawn inspiration from other cultures. Art is most powerful when it is understood as an active conversation between cultures, rather than some static artifact. \u003c/p>\n\u003cp>In San Francisco, Eastern art wasn’t always delegated to its own museum. What is today the Asian Art Museum was conceived as a wing within the de Young Museum. (Together, the de Young Museum and the Legion of Honor make up the Fine Arts Museums of San Francisco, or FAMSF.)\u003c/p>\n\u003cp>All of that changed when former International Olympic Committee president Avery Brundage, who \u003ca href=\"https://www.nytimes.com/2020/06/15/arts/design/avery-brundage-bust-asian-art-museum.html\" rel=\"noopener noreferrer\" target=\"_blank\">held racist views\u003c/a>, donated his collection of Asian art in the 1960s on the condition that the wing split from the de Young Museum and become a separate institution. The Legion of Honor then gave most of its collections of Asian art to the newly founded Asian Art Museum, and largely stopped exhibiting Asian art, says Jill D’Alessandro, the curator of costume and textile arts at the FAMSF and curator of the Guo exhibition. \u003c/p>\n\u003cp>But “the textile department never actually adhered to that,” says D’Alessandro. “One of the first curators said, ‘Well, you can’t tell the history of textiles and exclude Asia.’” In recent years, the Legion of Honor has continued collecting Asian art—just differentiated from the work exhibited in the Asian Art Museum, D’Alessandro added, with the style of Guo’s work as a standout example. \u003c/p>\n\u003cfigure id=\"attachment_13911987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, ‘Legend of the Dragon,’ Autumn/Winter 2012, Silk; embroidered with metallic threads, sequins, embellished with Swarovski crystals, rhinestones, metal wire, 70.86 x 62.99 x 39.37 in. \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Make no mistake, \u003cem>Guo Pei: Couture Fantasy\u003c/em> is absolutely a step in the right direction. But what is equally clear is that there is still much work to be done for our museums to give due credit to the contributions of non-white cultures. \u003c/p>\n\u003cp>“It is a museum goal to broaden the artistic canon … and to look at designers or artists outside of the West or [outside of] what we had traditionally shown,” says D’Alessandro, noting that the artistic canon does not solely exist in the West. In recent years, she adds, the Legion of Honor has been asking itself questions about the role it plays in the Bay Area, which has a prominent Asian community. \u003c/p>\n\u003cp>Putting together an exhibition of this scale during a pandemic had its challenges, with time zone differences and language barriers. Surprisingly, dressing the mannequins turned out to be the most challenging hurdle, says D’Alessandro.\u003c/p>\n\u003cp>Since Guo’s team couldn’t physically visit San Francisco to help assemble the exhibit, the team filmed themselves dressing each mannequin from head to toe before sending the clothes overseas. (The resulting videos took four days to upload, according to D’Alessandro.) Using the videos as a guide, the FAMSF team mirrored each step in a time-consuming process. \u003c/p>\n\u003cfigure id=\"attachment_13911997\" class=\"wp-caption aligncenter\" style=\"max-width: 562px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/EX1109.028-1.jpg\" alt=\"\" width=\"562\" height=\"843\" class=\"size-full wp-image-13911997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1.jpg 562w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1-160x240.jpg 160w\" sizes=\"(max-width: 562px) 100vw, 562px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, L’Architecture (Fall/Winter 2018–2019). \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notably absent from the exhibition is the iconic yellow gown that pop star Rihanna wore to the Met Gala in 2015. Guo, by then already an established figure in the international fashion world, found her stature drastically elevated by the Rihanna Met Gala dress, and she became a household name stateside overnight. The decision to forgo the dress was one that came out of lengthy discussions over whether it could create the false impression that Guo is a “one-hit wonder,” says D’Alessandro.\u003c/p>\n\u003cp>It was a smart choice—in part because it gives Guo’s impressive body of work a chance to shine on its own, without being overshadowed by the dress that went viral because of its passing resemblance to an omelet. \u003c/p>\n\u003cp>Indeed, Guo’s work shines here, both literally and figuratively, considering the sheer amount of gold and silver thread she uses. Her entrancing, iridescent gowns, with bold silhouettes and precise needlework, are a treat for the eyes. The intentional placement of these creations by the Legion of Honor’s curatorial staff deserves notice, too. It adds an interesting dimension to Guo’s more saccharine designs. \u003c/p>\n\u003cp>“I have been really moved by Western architecture, culture, and history. I am curious. It’s this strong curiosity that has mesmerized me,” reads a quote attributed to Guo on one of the exhibition’s walls. “I want to know the stories of the West, like Westerners want to learn about the East.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Guo Pei: Couture Fantasy’ is on view at the Legion of Honor Museum in San Francisco from April 16–Sept. 5. \u003ca href=\"https://legionofhonor.famsf.org/guo-pei\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Soapbox Derby made its grand, colorful return to McLaren Park in San Francisco on Sunday with thrills, hills, and spills.\u003c/p>\n\u003cp>Thousands turned out to see 57 art cars, none of them equipped with engines or motors, hurl (and occasionally crawl) precariously downhill. The races took place on John F. Shelly Drive, an under-maintained asphalt obstacle of a street, complete with potholes, cracks, and—presenting a source of sometimes slapstick comedy for the crowd—a speed bump.\u003c/p>\n\u003cp>[aside postID='news_11910363']This was not your ordinary Indy 500-style race. Among the Soapbox Derby categories ranked by the judges: “Slowest,” “Best of the Worst” and “Most Graceful Wipeout.”\u003c/p>\n\u003cp>KGO news anchor Kumasi Aaron and KQED’s own Pendarvis Harshaw, host of \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" rel=\"noopener noreferrer\" target=\"_blank\">Rightnowish\u003c/a>\u003c/em>, served as race announcers, giving color to every rattling mishap over the “cheese grater” portion of the track. Judges included musician \u003ca href=\"https://www.kqed.org/arts/13900272/de-san-francisco-para-el-mundo-la-donas-star-rises\" rel=\"noopener noreferrer\" target=\"_blank\">La Doña\u003c/a>; Dorcas Moulton, who created the famed “bread car” as \u003ca href=\"https://www.kqed.org/news/11910363/wacky-homemade-cars-will-soon-roll-down-the-hill-in-sfs-mclaren-park-again\" rel=\"noopener noreferrer\" target=\"_blank\">part of the original Soapbox Derby\u003c/a>; drag queen and educator \u003ca href=\"https://www.kqed.org/arts/13472763/storytime-and-stilettos-with-persia\" rel=\"noopener noreferrer\" target=\"_blank\">Per Sia\u003c/a>; and USC professor Amanda Pope.\u003c/p>\n\u003cp>KQED’s Beth LaBerge was there to capture the scene. See the Soapbox Derby’s colorful, creative cars, and the action that ensued, in her photos below. \u003c/p>\n\u003cfigure id=\"attachment_13911742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Morris and Noah Pilchen sit in a bathtub before racing at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whitney Shaw-Brandborg prepares to race in the pencil shaped car, created by her father Richard Shaw, at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Wondering Eye’ crashes in a part of the course called the ‘Cheese Grater’ during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peter Taylor races behind ‘MUNI Tunes’ while crossing the finish line at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Cassandra Peña-Govea, AKA La Dona, and drag queen and educator Per Sia judge contestants during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Shrimp Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Enos prepares to race his creation, the ‘Fine To Adequate Art Shipping Crate’, in the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Crumple Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hairy Eyeball’, created by John Casey, races during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls Garage’ leaves the startling line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Announcer Pendarvis Harshaw, host of KQED’s Rightnowish, speaks during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cutouts of drag queens fill the window of Muni Tunes at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘SCRAPmobile’ creative reuse center soapbox prepares to race during the SFMOMA Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "See photos from the Soapbox Derby's grand return to McLaren Park, and its colorful, creative cars. ",
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"title": "PHOTOS: The Soapbox Derby's Wild Downhill Action in San Francisco | KQED",
"description": "See photos from the Soapbox Derby's grand return to McLaren Park, and its colorful, creative cars. ",
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"headline": "PHOTOS: The Soapbox Derby's Wild Downhill Action in San Francisco",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Soapbox Derby made its grand, colorful return to McLaren Park in San Francisco on Sunday with thrills, hills, and spills.\u003c/p>\n\u003cp>Thousands turned out to see 57 art cars, none of them equipped with engines or motors, hurl (and occasionally crawl) precariously downhill. The races took place on John F. Shelly Drive, an under-maintained asphalt obstacle of a street, complete with potholes, cracks, and—presenting a source of sometimes slapstick comedy for the crowd—a speed bump.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This was not your ordinary Indy 500-style race. Among the Soapbox Derby categories ranked by the judges: “Slowest,” “Best of the Worst” and “Most Graceful Wipeout.”\u003c/p>\n\u003cp>KGO news anchor Kumasi Aaron and KQED’s own Pendarvis Harshaw, host of \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" rel=\"noopener noreferrer\" target=\"_blank\">Rightnowish\u003c/a>\u003c/em>, served as race announcers, giving color to every rattling mishap over the “cheese grater” portion of the track. Judges included musician \u003ca href=\"https://www.kqed.org/arts/13900272/de-san-francisco-para-el-mundo-la-donas-star-rises\" rel=\"noopener noreferrer\" target=\"_blank\">La Doña\u003c/a>; Dorcas Moulton, who created the famed “bread car” as \u003ca href=\"https://www.kqed.org/news/11910363/wacky-homemade-cars-will-soon-roll-down-the-hill-in-sfs-mclaren-park-again\" rel=\"noopener noreferrer\" target=\"_blank\">part of the original Soapbox Derby\u003c/a>; drag queen and educator \u003ca href=\"https://www.kqed.org/arts/13472763/storytime-and-stilettos-with-persia\" rel=\"noopener noreferrer\" target=\"_blank\">Per Sia\u003c/a>; and USC professor Amanda Pope.\u003c/p>\n\u003cp>KQED’s Beth LaBerge was there to capture the scene. See the Soapbox Derby’s colorful, creative cars, and the action that ensued, in her photos below. \u003c/p>\n\u003cfigure id=\"attachment_13911742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Morris and Noah Pilchen sit in a bathtub before racing at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whitney Shaw-Brandborg prepares to race in the pencil shaped car, created by her father Richard Shaw, at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Wondering Eye’ crashes in a part of the course called the ‘Cheese Grater’ during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peter Taylor races behind ‘MUNI Tunes’ while crossing the finish line at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Cassandra Peña-Govea, AKA La Dona, and drag queen and educator Per Sia judge contestants during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Shrimp Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Enos prepares to race his creation, the ‘Fine To Adequate Art Shipping Crate’, in the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Crumple Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hairy Eyeball’, created by John Casey, races during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls Garage’ leaves the startling line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Announcer Pendarvis Harshaw, host of KQED’s Rightnowish, speaks during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cutouts of drag queens fill the window of Muni Tunes at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘SCRAPmobile’ creative reuse center soapbox prepares to race during the SFMOMA Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "From Tumblrcore to 2014core, the Nostalgia Loop is Getting Smaller and Faster",
"headTitle": "From Tumblrcore to 2014core, the Nostalgia Loop is Getting Smaller and Faster | KQED",
"content": "\u003cp>Some recent fashion trends make sense. Take what’s currently being called \u003ca href=\"https://www.whowhatwear.com/y2k-fashion\" target=\"_blank\" rel=\"noopener noreferrer\">the Y2K aesthetic\u003c/a> of wide-leg jeans, aggressive pink and metallic fabrics—a throwback to style sensibilities of the late ’90s and early 2000s.\u003c/p>\n\u003cp>Fashion moves in twenty year cycles, or so conventional wisdom has it, when tastemakers get nostalgic for their childhoods. For example, 1970s pop culture, resurrected the 1950s in the form of TV shows \u003cem>Happy Days \u003c/em>and \u003cem>M*A*S*H\u003c/em> and the musical \u003cem>Grease\u003c/em>. And twenty years after that, the 1990s witnessed a return to 1970s-style singer-songwriters, such as Juliana Hatfield and PJ Harvey, and an \u003ca href=\"https://www.youtube.com/watch?v=f9ymhfB5nys\" target=\"_blank\" rel=\"noopener noreferrer\">era-defining cover\u003c/a> of Cat Stevens’ 1971 song “Peace Train.”\u003c/p>\n\u003cfigure id=\"attachment_13909910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909910\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1920x2878.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-scaled.jpg 1708w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Models walk the runway at the Tom Ford spring/summer 2022 fashion show at Lincoln Center during New York Fashion Week on Sunday, Sept. 12, 2021. \u003ccite>(AP Photo/Eduardo Munoz Alvarez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the nostalgia loop has sped up. “So much faster than twenty years,” says Rebecca Jennings, \u003ca href=\"https://www.vox.com/authors/rebecca-jennings\" target=\"_blank\" rel=\"noopener noreferrer\">a senior correspondent for \u003cem>Vox\u003c/em>\u003c/a> \u003ca href=\"https://www.vox.com/authors/rebecca-jennings\" target=\"_blank\" rel=\"noopener noreferrer\">who covers internet culture \u003c/a>. Jennings points to TikTok \u003ca href=\"https://www.tiktok.com/@makeup/video/7016708053772864773?is_copy_url=1&is_from_webapp=v1&q=2016%20makeup&t=1645026345837\" target=\"_blank\" rel=\"noopener noreferrer\">videos nostalgic for makeup trends dating all the way back to… 2016\u003c/a>, when makeup artist Mario Dedivanovic was busy breaking the internet by contouring Kim Kardashian’s cheekbones and dramatically boxing her brows. Or look, Jennings says, to \u003ca href=\"https://www.teenvogue.com/story/wired-headphones-2021-it-accessory\" target=\"_blank\" rel=\"noopener noreferrer\">last year’s much-hyped vogue for wired headsets\u003c/a>, a vintage accessory dating all the way back to before the advent of wireless ear buds—around 2015.\u003c/p>\n\u003cp>“When the kids on the internet are talking about like 2014core or tumblr fashion, what they’re talking about is the stuff that semi-alternative kids were lusting over at that time,” Jennings explains. Stuff like Lana Del Rey, Arctic Monkeys and tiny, Lolita-esque tennis skirts, all of which can be found in abundance on HBO’s hit \u003cem>Euphoria.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-800x600.jpg\" alt=\"A young woman with black hair and bold green eyeshadow leans on a pink bathroom stall. She's wearing a green sweater with a black and white Cramps T-shirt underneath, paired with a skin tight black, red and grey skirt.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161.jpg 1540w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Barbie Ferreira as Kat Hernandez in the HBO show ‘Euphoria.’. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching the show, Alysha Cassis-Shaw wondered, “What year are we in? 2000? 2005?” The owner of the Oakland-based vintage brand called \u003ca href=\"https://www.shopneutralground.com/pages/about\">Neutral Ground\u003c/a> describes \u003cem>Euphoria\u003c/em>‘s style as bewitching but disorienting: it borrows from the style of early ’90s Paris Hilton and Britney Spears to the ubiquitous Peter Pan collars of 2009 to the high waisted pants that were in until, well, very recently—and already may be making a comeback.\u003c/p>\n\u003cfigure id=\"attachment_13909919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909919\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-800x496.png\" alt=\"A girl wearing a skin-tight denim pinafore dress talks to a girl wearing a soft and skimpy pink and blue take on the classic Chanel suit.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-1020x633.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-1536x953.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM.png 1606w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Season two of HBO’s hit Euphoria continued with a contemporary approach to fashion somehow both curated and a hodgepodge of trends. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“These are contemporary kids using a hodgepodge of styles,” Cassis-Shaw says. You don’t have to have a lot of money, she notes, to shop from resale outlets like ThredUp, stuffed with two decades of fast fashion cycling in and out of style, all of which can be studied on Instagram. And when you can so easily consume “vintage” clothes from H&M or Delia’s, the ingredients are in place for what writer Allison P. Davis memorably called \u003ca href=\"https://www.thecut.com/2022/02/a-vibe-shift-is-coming.html\" target=\"_blank\" rel=\"noopener noreferrer\">a “vibe shift” in a recent article for \u003cem>New York \u003c/em>magazine\u003c/a>. Normal rhythms of trends and style get scrambled by the hectic churn of social media.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13905720']“TikTok has a weird way of making every single thing in style at once,” notes Rebecca Jennings. “You can go to any corner of the app and something will be considered cool.”\u003c/p>\n\u003cp>Right now, she adds, it’s easy to be nostalgic for the days before COVID. Some young people are even nostalgic for the early days of the pandemic, \u003ca href=\"https://www.tiktok.com/@0good_old_days0/video/7054643453900246318?is_copy_url=1&is_from_webapp=v1&q=nostalgia%202020&t=1645554473821\" target=\"_blank\" rel=\"noopener noreferrer\">making TikToks like this one\u003c/a>, looking back fondly at \u003cem>Tiger King\u003c/em>, \u003cem>Animal Crossing\u003c/em> and making sourdough bread.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You know, way back before a new set of anxieties about the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Tumblrcore+to+2014core%2C+the+nostalgia+loop+is+getting+smaller+and+faster&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some recent fashion trends make sense. Take what’s currently being called \u003ca href=\"https://www.whowhatwear.com/y2k-fashion\" target=\"_blank\" rel=\"noopener noreferrer\">the Y2K aesthetic\u003c/a> of wide-leg jeans, aggressive pink and metallic fabrics—a throwback to style sensibilities of the late ’90s and early 2000s.\u003c/p>\n\u003cp>Fashion moves in twenty year cycles, or so conventional wisdom has it, when tastemakers get nostalgic for their childhoods. For example, 1970s pop culture, resurrected the 1950s in the form of TV shows \u003cem>Happy Days \u003c/em>and \u003cem>M*A*S*H\u003c/em> and the musical \u003cem>Grease\u003c/em>. And twenty years after that, the 1990s witnessed a return to 1970s-style singer-songwriters, such as Juliana Hatfield and PJ Harvey, and an \u003ca href=\"https://www.youtube.com/watch?v=f9ymhfB5nys\" target=\"_blank\" rel=\"noopener noreferrer\">era-defining cover\u003c/a> of Cat Stevens’ 1971 song “Peace Train.”\u003c/p>\n\u003cfigure id=\"attachment_13909910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909910\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1920x2878.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-scaled.jpg 1708w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Models walk the runway at the Tom Ford spring/summer 2022 fashion show at Lincoln Center during New York Fashion Week on Sunday, Sept. 12, 2021. \u003ccite>(AP Photo/Eduardo Munoz Alvarez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the nostalgia loop has sped up. “So much faster than twenty years,” says Rebecca Jennings, \u003ca href=\"https://www.vox.com/authors/rebecca-jennings\" target=\"_blank\" rel=\"noopener noreferrer\">a senior correspondent for \u003cem>Vox\u003c/em>\u003c/a> \u003ca href=\"https://www.vox.com/authors/rebecca-jennings\" target=\"_blank\" rel=\"noopener noreferrer\">who covers internet culture \u003c/a>. Jennings points to TikTok \u003ca href=\"https://www.tiktok.com/@makeup/video/7016708053772864773?is_copy_url=1&is_from_webapp=v1&q=2016%20makeup&t=1645026345837\" target=\"_blank\" rel=\"noopener noreferrer\">videos nostalgic for makeup trends dating all the way back to… 2016\u003c/a>, when makeup artist Mario Dedivanovic was busy breaking the internet by contouring Kim Kardashian’s cheekbones and dramatically boxing her brows. Or look, Jennings says, to \u003ca href=\"https://www.teenvogue.com/story/wired-headphones-2021-it-accessory\" target=\"_blank\" rel=\"noopener noreferrer\">last year’s much-hyped vogue for wired headsets\u003c/a>, a vintage accessory dating all the way back to before the advent of wireless ear buds—around 2015.\u003c/p>\n\u003cp>“When the kids on the internet are talking about like 2014core or tumblr fashion, what they’re talking about is the stuff that semi-alternative kids were lusting over at that time,” Jennings explains. Stuff like Lana Del Rey, Arctic Monkeys and tiny, Lolita-esque tennis skirts, all of which can be found in abundance on HBO’s hit \u003cem>Euphoria.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-800x600.jpg\" alt=\"A young woman with black hair and bold green eyeshadow leans on a pink bathroom stall. She's wearing a green sweater with a black and white Cramps T-shirt underneath, paired with a skin tight black, red and grey skirt.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161.jpg 1540w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Barbie Ferreira as Kat Hernandez in the HBO show ‘Euphoria.’. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching the show, Alysha Cassis-Shaw wondered, “What year are we in? 2000? 2005?” The owner of the Oakland-based vintage brand called \u003ca href=\"https://www.shopneutralground.com/pages/about\">Neutral Ground\u003c/a> describes \u003cem>Euphoria\u003c/em>‘s style as bewitching but disorienting: it borrows from the style of early ’90s Paris Hilton and Britney Spears to the ubiquitous Peter Pan collars of 2009 to the high waisted pants that were in until, well, very recently—and already may be making a comeback.\u003c/p>\n\u003cfigure id=\"attachment_13909919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909919\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-800x496.png\" alt=\"A girl wearing a skin-tight denim pinafore dress talks to a girl wearing a soft and skimpy pink and blue take on the classic Chanel suit.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-1020x633.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-1536x953.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM.png 1606w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Season two of HBO’s hit Euphoria continued with a contemporary approach to fashion somehow both curated and a hodgepodge of trends. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“These are contemporary kids using a hodgepodge of styles,” Cassis-Shaw says. You don’t have to have a lot of money, she notes, to shop from resale outlets like ThredUp, stuffed with two decades of fast fashion cycling in and out of style, all of which can be studied on Instagram. And when you can so easily consume “vintage” clothes from H&M or Delia’s, the ingredients are in place for what writer Allison P. Davis memorably called \u003ca href=\"https://www.thecut.com/2022/02/a-vibe-shift-is-coming.html\" target=\"_blank\" rel=\"noopener noreferrer\">a “vibe shift” in a recent article for \u003cem>New York \u003c/em>magazine\u003c/a>. Normal rhythms of trends and style get scrambled by the hectic churn of social media.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“TikTok has a weird way of making every single thing in style at once,” notes Rebecca Jennings. “You can go to any corner of the app and something will be considered cool.”\u003c/p>\n\u003cp>Right now, she adds, it’s easy to be nostalgic for the days before COVID. Some young people are even nostalgic for the early days of the pandemic, \u003ca href=\"https://www.tiktok.com/@0good_old_days0/video/7054643453900246318?is_copy_url=1&is_from_webapp=v1&q=nostalgia%202020&t=1645554473821\" target=\"_blank\" rel=\"noopener noreferrer\">making TikToks like this one\u003c/a>, looking back fondly at \u003cem>Tiger King\u003c/em>, \u003cem>Animal Crossing\u003c/em> and making sourdough bread.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You know, way back before a new set of anxieties about the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Tumblrcore+to+2014core%2C+the+nostalgia+loop+is+getting+smaller+and+faster&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Kanye West Controlling Julia Fox's Style is Alarming, Not Romantic",
"headTitle": "Kanye West Controlling Julia Fox’s Style is Alarming, Not Romantic | KQED",
"content": "\u003cp>Paris Fashion Week happened last week. The only reason I know this is because every time (the artist formerly known as) Kanye West and his new girlfriend Julia Fox showed up anywhere, Twitter had a meltdown. It wasn’t hard to see why. The whole thing was like the new \u003ca href=\"https://www.kqed.org/arts/13908472/and-just-like-that-sex-and-the-city-che-miranda-carrie-charlotte-nyc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex and the City\u003c/em> reboot\u003c/a>: You know you should turn away. You know what you’re looking at is going to make you cringe. But the need to keep staring at it is uncontrollable.\u003c/p>\n\u003cp>The new couple spent several days parading around in almost-but-not-quite-matching outfits.\u003c/p>\n\u003cp>There was this double denim situation:\u003c/p>\n\u003cp>https://twitter.com/saint/status/1485299099377315842\u003c/p>\n\u003cp>This Folsom Street Fair-adjacent effort:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/LiabilityLouie/status/1486163857668255748\u003c/p>\n\u003cp>And whatever the hell this was:\u003c/p>\n\u003cp>https://twitter.com/therapland/status/1485777404903792641\u003c/p>\n\u003cp>Truly, the longer the couple’s Paris sojourn went on, the more out of her depth Fox looked. Which isn’t terribly surprising if you examine the circumstances. Ye (that’s the name West is using now) and Fox met just one month ago, on New Year’s Eve. And—according to the \u003ca href=\"https://www.interviewmagazine.com/culture/date-night\" target=\"_blank\" rel=\"noopener noreferrer\">two paragraph-story Fox wrote for \u003cem>Interview\u003c/em>\u003c/a> magazine last month—he presented her with “an entire hotel suite full of clothes,” after knowing her for literally one day. Fox wrote: “I was so surprised. Like, who does things like this on a second date? Or any date!”\u003c/p>\n\u003cp>The answer to that question is: a new partner who’s waving a big ol’ red flag in your face.\u003c/p>\n\u003cp>https://twitter.com/AaronRFernandes/status/1487565601321197568\u003c/p>\n\u003cp>If you look up how to spot if you’re in an unhealthy relationship, clothing is a recurring theme. \u003ca href=\"https://psychcentral.com/lib/signs-controlling-partner-relationship\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Psych Central\u003c/em>\u003c/a> suggests that controlling partners “could start slowly ‘changing your wardrobe’ by buying specific outfits as gifts to you.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.everydayhealth.com/emotional-health/controlling-men/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Everyday Health\u003c/em>\u003c/a> says: “Controlling men like to be in charge. They like to tell women what to do, wear and be, and even how and when to speak. Most controlling men don’t really believe they are controlling. In their minds, they’re merely helping their wives or girlfriends to ‘improve,’ and they honestly believe that men are entitled to have things just the way they prefer them to be … Does this sound like anyone you know?”\u003c/p>\n\u003cp>[aside postid='pop_28206']Yes. It sounds like Kanye West, who has been re-dressing women according to his specifications, very openly, for years.\u003c/p>\n\u003cp>Amber Rose spoke repeatedly about \u003ca href=\"https://www.elle.com/fashion/a9049/fashion-spotlight-amber-rose-360509/\" target=\"_blank\" rel=\"noopener noreferrer\">Kanye’s attempts to control her wardrobe\u003c/a> while the two were a couple. She told \u003cem>Elle\u003c/em> in 2009: “He’ll pick out something and I’ll be like, ‘Oh, God, I don’t like that at all.’ And then I’ll pick out something and he’ll be like ‘Babe, just… no.’ I’m more electric pink and bright yellow. And Kanye’s more like nude and bone … I’m not, like, his Barbie.”\u003c/p>\n\u003cp>In his next serious relationship, Kanye found a significantly more malleable partner. In a 2012 episode of \u003cem>Keeping Up With the Kardashians\u003c/em>—filmed just a few months into their relationship—Kanye is seen telling Kardashian to “clean out everything” from her closet. Her pleas to keep a few accessories are repeatedly shot down, despite her being a long-time boutique owner who first became famous while working as a personal stylist.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8E9lNF9bhYU\u003c/p>\n\u003cp>No secret was made of the fact that Kanye exerted extreme control over Kardashian’s style for the entirety of their relationship. In one 2018 episode of her reality show, Kardashian mentioned that Kanye had flown out to Paris to see her for 24 hours. Not because he missed her, but because he had seen paparazzi photos of her wearing clothes he didn’t like, and he wanted to check on her wardrobe.\u003c/p>\n\u003cp>[aside postid='pop_49104']A year later, Kanye questioned Kardashian’s choice to wear a stunning Thierry Mugler corseted dress to the Met Gala. “A corset is a form of underwear. It’s hot. It’s like, it’s hot for who though?” he said to Kardashian the night before the event. “You are my wife and it affects me when pictures are too sexy.”\u003c/p>\n\u003cp>Julia Fox isn’t Kanye’s wife. She’s only been his girlfriend for a month. But if Fashion Week is anything to go by, he seems to already be controlling every inch of her appearance, down to her makeup.\u003c/p>\n\u003cp>https://twitter.com/LukeLarainGray/status/1485690511633625089\u003c/p>\n\u003cp>There’s no doubt that all of this is outside Fox’s wheelhouse—you can see it in her awkward Fashion Week body language. And it’s probably because Kanye’s clothing choices for her are such an enormous departure from anything she’s ever worn in public previously.\u003c/p>\n\u003cp>To demonstrate the contrast, here’s what she looked like at November’s CFDA Awards, just six weeks before Kanye showed up with that suite full of clothes.\u003c/p>\n\u003cfigure id=\"attachment_13908832\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908832\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/GettyImages-1352567200-800x1200.jpg\" alt=\"A fresh-faced, but polished woman stands on the red carpet wearing a tight, mint green long sleeved top and calf length pale pink skirt with fur trim. She carries a beaded handbag in the shape of the Empire State Building.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julia Fox at the CFDA Fashion Awards, New York, November 2021. \u003ccite>(Jamie McCarthy/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite an obvious pattern, Kanye’s compulsion to control yet another girlfriend’s appearance has been greeted without much alarm in the press. The tabloid media has, by and large, instead decided to pit Kardashian and Fox against each other. (This despite reports that \u003ca href=\"https://www.elle.com/culture/celebrities/a38735734/kim-kardashian-kanye-west-julia-fox-dating-pursuit-reaction/\" target=\"_blank\" rel=\"noopener noreferrer\">Kardashian is just trying to move on with her life\u003c/a>.)\u003c/p>\n\u003cp>“Fox borrowed yet another look from her boyfriend Kanye West’s ex Kim Kardashian as she stepped out during Paris Fashion Week last week,” the \u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-10466443/Kanye-Wests-new-flame-Julia-Fox-denies-copying-Kim-Kardashians-edgy-chest-mold.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daily Mail\u003c/em> declared\u003c/a> yesterday.\u003c/p>\n\u003cp>“Kanye West’s Girlfriend Julia Fox Rips Off Kim Kardashian With Oozing Chest Mold, Model Caught In Another Copycat Fashion Fumble,” \u003ca href=\"https://radaronline.com/p/kanye-west-girlfriend-julia-fox-chest-mold-copying-kim-kardashian-fashion-style/\" target=\"_blank\" rel=\"noopener noreferrer\">screamed\u003cem> Radar Online\u003c/em>\u003c/a> this week.\u003c/p>\n\u003cp>The copycat refrain has been so common, \u003ca href=\"https://www.complex.com/style/julia-fox-responds-to-claim-she-channels-kim-kardashian-outfit-choice\" target=\"_blank\" rel=\"noopener noreferrer\">Fox felt the need to take to Instagram this week to deny she was stealing looks from Kardashian\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13908784']That Fox has been blamed for “copying” Kardashian is a reflection of just how much our culture loves a catfight. It also points to a widespread unwillingness to examine Kanye’s disturbing need to take control of the appearances of the women he’s with.\u003c/p>\n\u003cp>What has been said far too little in the course of Fox and Kanye’s short relationship is that when one person insists on controlling another person’s clothing and makeup choices, it’s a way of squashing their bodily autonomy. It’s a way to restrict their sense of personal freedom. It’s a way to make them insecure about their own judgement which, in turn, is designed to make them more dependent on the controlling partner. And when the act of altering someone’s image is presented as a romantic gesture, it’s not a sign of love, it’s a form of grooming.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fox isn’t trying to keep up with Kim Kardashian; she appears to be trying desperately to keep up with the demands of Kanye West. That she thinks him dressing her is “\u003ca href=\"https://www.interviewmagazine.com/culture/date-night\" target=\"_blank\" rel=\"noopener noreferrer\">every girl’s dream\u003c/a>” is perhaps the part that’s most disturbing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paris Fashion Week happened last week. The only reason I know this is because every time (the artist formerly known as) Kanye West and his new girlfriend Julia Fox showed up anywhere, Twitter had a meltdown. It wasn’t hard to see why. The whole thing was like the new \u003ca href=\"https://www.kqed.org/arts/13908472/and-just-like-that-sex-and-the-city-che-miranda-carrie-charlotte-nyc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex and the City\u003c/em> reboot\u003c/a>: You know you should turn away. You know what you’re looking at is going to make you cringe. But the need to keep staring at it is uncontrollable.\u003c/p>\n\u003cp>The new couple spent several days parading around in almost-but-not-quite-matching outfits.\u003c/p>\n\u003cp>There was this double denim situation:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Truly, the longer the couple’s Paris sojourn went on, the more out of her depth Fox looked. Which isn’t terribly surprising if you examine the circumstances. Ye (that’s the name West is using now) and Fox met just one month ago, on New Year’s Eve. And—according to the \u003ca href=\"https://www.interviewmagazine.com/culture/date-night\" target=\"_blank\" rel=\"noopener noreferrer\">two paragraph-story Fox wrote for \u003cem>Interview\u003c/em>\u003c/a> magazine last month—he presented her with “an entire hotel suite full of clothes,” after knowing her for literally one day. Fox wrote: “I was so surprised. Like, who does things like this on a second date? Or any date!”\u003c/p>\n\u003cp>The answer to that question is: a new partner who’s waving a big ol’ red flag in your face.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>If you look up how to spot if you’re in an unhealthy relationship, clothing is a recurring theme. \u003ca href=\"https://psychcentral.com/lib/signs-controlling-partner-relationship\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Psych Central\u003c/em>\u003c/a> suggests that controlling partners “could start slowly ‘changing your wardrobe’ by buying specific outfits as gifts to you.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.everydayhealth.com/emotional-health/controlling-men/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Everyday Health\u003c/em>\u003c/a> says: “Controlling men like to be in charge. They like to tell women what to do, wear and be, and even how and when to speak. Most controlling men don’t really believe they are controlling. In their minds, they’re merely helping their wives or girlfriends to ‘improve,’ and they honestly believe that men are entitled to have things just the way they prefer them to be … Does this sound like anyone you know?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yes. It sounds like Kanye West, who has been re-dressing women according to his specifications, very openly, for years.\u003c/p>\n\u003cp>Amber Rose spoke repeatedly about \u003ca href=\"https://www.elle.com/fashion/a9049/fashion-spotlight-amber-rose-360509/\" target=\"_blank\" rel=\"noopener noreferrer\">Kanye’s attempts to control her wardrobe\u003c/a> while the two were a couple. She told \u003cem>Elle\u003c/em> in 2009: “He’ll pick out something and I’ll be like, ‘Oh, God, I don’t like that at all.’ And then I’ll pick out something and he’ll be like ‘Babe, just… no.’ I’m more electric pink and bright yellow. And Kanye’s more like nude and bone … I’m not, like, his Barbie.”\u003c/p>\n\u003cp>In his next serious relationship, Kanye found a significantly more malleable partner. In a 2012 episode of \u003cem>Keeping Up With the Kardashians\u003c/em>—filmed just a few months into their relationship—Kanye is seen telling Kardashian to “clean out everything” from her closet. Her pleas to keep a few accessories are repeatedly shot down, despite her being a long-time boutique owner who first became famous while working as a personal stylist.\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/8E9lNF9bhYU'\n title='//www.youtube.com/embed/8E9lNF9bhYU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>No secret was made of the fact that Kanye exerted extreme control over Kardashian’s style for the entirety of their relationship. In one 2018 episode of her reality show, Kardashian mentioned that Kanye had flown out to Paris to see her for 24 hours. Not because he missed her, but because he had seen paparazzi photos of her wearing clothes he didn’t like, and he wanted to check on her wardrobe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A year later, Kanye questioned Kardashian’s choice to wear a stunning Thierry Mugler corseted dress to the Met Gala. “A corset is a form of underwear. It’s hot. It’s like, it’s hot for who though?” he said to Kardashian the night before the event. “You are my wife and it affects me when pictures are too sexy.”\u003c/p>\n\u003cp>Julia Fox isn’t Kanye’s wife. She’s only been his girlfriend for a month. But if Fashion Week is anything to go by, he seems to already be controlling every inch of her appearance, down to her makeup.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>There’s no doubt that all of this is outside Fox’s wheelhouse—you can see it in her awkward Fashion Week body language. And it’s probably because Kanye’s clothing choices for her are such an enormous departure from anything she’s ever worn in public previously.\u003c/p>\n\u003cp>To demonstrate the contrast, here’s what she looked like at November’s CFDA Awards, just six weeks before Kanye showed up with that suite full of clothes.\u003c/p>\n\u003cfigure id=\"attachment_13908832\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908832\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/GettyImages-1352567200-800x1200.jpg\" alt=\"A fresh-faced, but polished woman stands on the red carpet wearing a tight, mint green long sleeved top and calf length pale pink skirt with fur trim. She carries a beaded handbag in the shape of the Empire State Building.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julia Fox at the CFDA Fashion Awards, New York, November 2021. \u003ccite>(Jamie McCarthy/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite an obvious pattern, Kanye’s compulsion to control yet another girlfriend’s appearance has been greeted without much alarm in the press. The tabloid media has, by and large, instead decided to pit Kardashian and Fox against each other. (This despite reports that \u003ca href=\"https://www.elle.com/culture/celebrities/a38735734/kim-kardashian-kanye-west-julia-fox-dating-pursuit-reaction/\" target=\"_blank\" rel=\"noopener noreferrer\">Kardashian is just trying to move on with her life\u003c/a>.)\u003c/p>\n\u003cp>“Fox borrowed yet another look from her boyfriend Kanye West’s ex Kim Kardashian as she stepped out during Paris Fashion Week last week,” the \u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-10466443/Kanye-Wests-new-flame-Julia-Fox-denies-copying-Kim-Kardashians-edgy-chest-mold.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daily Mail\u003c/em> declared\u003c/a> yesterday.\u003c/p>\n\u003cp>“Kanye West’s Girlfriend Julia Fox Rips Off Kim Kardashian With Oozing Chest Mold, Model Caught In Another Copycat Fashion Fumble,” \u003ca href=\"https://radaronline.com/p/kanye-west-girlfriend-julia-fox-chest-mold-copying-kim-kardashian-fashion-style/\" target=\"_blank\" rel=\"noopener noreferrer\">screamed\u003cem> Radar Online\u003c/em>\u003c/a> this week.\u003c/p>\n\u003cp>The copycat refrain has been so common, \u003ca href=\"https://www.complex.com/style/julia-fox-responds-to-claim-she-channels-kim-kardashian-outfit-choice\" target=\"_blank\" rel=\"noopener noreferrer\">Fox felt the need to take to Instagram this week to deny she was stealing looks from Kardashian\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That Fox has been blamed for “copying” Kardashian is a reflection of just how much our culture loves a catfight. It also points to a widespread unwillingness to examine Kanye’s disturbing need to take control of the appearances of the women he’s with.\u003c/p>\n\u003cp>What has been said far too little in the course of Fox and Kanye’s short relationship is that when one person insists on controlling another person’s clothing and makeup choices, it’s a way of squashing their bodily autonomy. It’s a way to restrict their sense of personal freedom. It’s a way to make them insecure about their own judgement which, in turn, is designed to make them more dependent on the controlling partner. And when the act of altering someone’s image is presented as a romantic gesture, it’s not a sign of love, it’s a form of grooming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fox isn’t trying to keep up with Kim Kardashian; she appears to be trying desperately to keep up with the demands of Kanye West. That she thinks him dressing her is “\u003ca href=\"https://www.interviewmagazine.com/culture/date-night\" target=\"_blank\" rel=\"noopener noreferrer\">every girl’s dream\u003c/a>” is perhaps the part that’s most disturbing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rihanna has brought the world many gifts. She’s an influential musician, actress, cosmetics and lingerie mogul, billionaire and national hero of her native Barbados.\u003c/p>\n\u003cp>And now she’s poised to add another title to that list: parent. The global superstar is expecting her first child with rapper A$AP Rocky.\u003c/p>\n\u003cp>Photos of the couple walking hand-in-hand in New York City are making the rounds on Twitter, with news of their announcement spreading like wildfire across social media and celebrity-focused media outlets.\u003c/p>\n\u003cp>https://twitter.com/CoutureIsBeyond/status/1488170065686114309\u003c/p>\n\u003cp>The power couple’s exact relationship timeline is unclear, but they reportedly went official in the summer of 2020. They made their red carpet debut at the 2021 Met Gala in September, which made headlines while simultaneously being very casual.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We weren’t even sure if we were going to go, so separately we were planning our looks just to be prepared,” Rihanna later told E! News. “We ended up getting ready together and going and I didn’t even realize we were on a carpet together until somebody said, ‘You’re making your debut,’ and I was like, ‘Oh, s––t.'”\u003c/p>\n\u003cp>A$AP Rocky spoke about their relationship in an interview with GQ in May 2021, in which he called Rihanna “the love of my life” and “the One.”\u003c/p>\n\u003cp>When asked whether he was ready to be a father at some point, he said he thought he would be an “incredible, remarkably, overall amazing dad.”\u003c/p>\n\u003cp>“I would have a very fly child,” he said. “Very.”\u003c/p>\n\u003cp>For her part, Rihanna told Vogue in May 2020 that she wants to have three or four kids, and would do it on her own if she didn’t meet the right person.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I feel like society makes me want to feel like, ‘Oh, you got it wrong…’ They diminish you as a mother if there’s not a dad in your kids’ lives,” she said. “But the only thing that matters is happiness, that’s the only healthy relationship between a parent and a child. That’s the only thing that can raise a child truly, is love.”\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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