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"content": "\u003cp>\u003cem>Q: What’s special about the elevator at Bloomingdales?\u003c/em>\u003cbr>\n\u003cem> A: It’s the only thing a Jewish girl will go down on.\u003c/em>\u003c/p>\n\u003cp>Jews have been parting their lips since long before the parting of the Red Sea, and have a sense of humor that’s kinkier than a rabbi’s sidelocks. So it makes perfect sense for the \u003ca href=\"https://www.jccsf.org\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a> (JCCSF) to peek under the covers of the Jewish sexual experience in \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> — a new series of performances, lectures and workshops that runs through the end of May.\u003c/p>\n\u003cp>“Jews are some of the sexiest people around and good healthy sex is a Jewish value for sure,” says Barbara Lane, director of the JCCSF’s Arts & Ideas program. “If this helps get people out of their heads and into their bodies, then far out.”\u003c/p>\n\u003cfigure id=\"attachment_11414654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg\" alt=\"Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Leland Bobbe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The action begins on Friday, Mar. 18 with \u003cem>Take it Off! The New Burlesque\u003c/em>, a spicy revue featuring, among other attributes, a pogo striptease act and some of the burlesque scene’s most vivacious exponents like Miss Dirty Martini, Julie Atlas Muz, Miss Harvest Moon, Roky Roulette and Kitten on the Keys.\u003c/p>\n\u003cp>Sex columnist Dan Savage makes an appearance on Monday, Mar. 21, and on Thursday, Mar. 24, JCCSF presents an evening of bawdy storytelling in which a lineup of creative types share sundry sexploits alongside live music and an activity called “Bang-o!” which, allegedly “dares to go where Bingo does not.”\u003c/p>\n\u003cfigure id=\"attachment_11414787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414787\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Bawdy-Storytelling_image1-Photo-by-Neuroptik-Photography-800x534.jpg\" alt=\"‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Neuroptik Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April, the series continues with, among other come-hither curiosities, a night of romantic music from the folks at the ever-inventive \u003cem>UnderCover Presents\u003c/em> series. But don’t worry: Lionel Ritchie’s “Hello” might have been selected by \u003cem>The New York Times\u003c/em> as one of “\u003ca href=\"http://www.nytimes.com/interactive/2016/03/10/magazine/25-songs-that-tell-us-where-music-is-going.html\" target=\"_blank\" rel=\"noopener\">25 songs that tell us where music is going\u003c/a>,” but the mawkish ’80s ballad is unlikely to make an appearance at this evening of cover songs to kiss to. And there’s also an intriguing evening later in the month devoted to animal reproduction involving “dinosaur misogyny, female octopi capable of killing males during intercourse, a homosexual flamingo couple, and promiscuous pandas” hosted by zoologist and BBC broadcaster Jules Howard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it’s racy,” Lane says of the entire \u003cem>Uninhibited About Sex\u003c/em> program. “But it’s also responsible. We’re not being salacious just to be salacious. Hopefully we’re being informative and educational.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> runs through Tuesday, May 31 at the Jewish Community Center of San Francisco. For more information, \u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">go here.\u003c/a>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Q: What’s special about the elevator at Bloomingdales?\u003c/em>\u003cbr>\n\u003cem> A: It’s the only thing a Jewish girl will go down on.\u003c/em>\u003c/p>\n\u003cp>Jews have been parting their lips since long before the parting of the Red Sea, and have a sense of humor that’s kinkier than a rabbi’s sidelocks. So it makes perfect sense for the \u003ca href=\"https://www.jccsf.org\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a> (JCCSF) to peek under the covers of the Jewish sexual experience in \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> — a new series of performances, lectures and workshops that runs through the end of May.\u003c/p>\n\u003cp>“Jews are some of the sexiest people around and good healthy sex is a Jewish value for sure,” says Barbara Lane, director of the JCCSF’s Arts & Ideas program. “If this helps get people out of their heads and into their bodies, then far out.”\u003c/p>\n\u003cfigure id=\"attachment_11414654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg\" alt=\"Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Leland Bobbe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The action begins on Friday, Mar. 18 with \u003cem>Take it Off! The New Burlesque\u003c/em>, a spicy revue featuring, among other attributes, a pogo striptease act and some of the burlesque scene’s most vivacious exponents like Miss Dirty Martini, Julie Atlas Muz, Miss Harvest Moon, Roky Roulette and Kitten on the Keys.\u003c/p>\n\u003cp>Sex columnist Dan Savage makes an appearance on Monday, Mar. 21, and on Thursday, Mar. 24, JCCSF presents an evening of bawdy storytelling in which a lineup of creative types share sundry sexploits alongside live music and an activity called “Bang-o!” which, allegedly “dares to go where Bingo does not.”\u003c/p>\n\u003cfigure id=\"attachment_11414787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414787\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Bawdy-Storytelling_image1-Photo-by-Neuroptik-Photography-800x534.jpg\" alt=\"‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Neuroptik Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April, the series continues with, among other come-hither curiosities, a night of romantic music from the folks at the ever-inventive \u003cem>UnderCover Presents\u003c/em> series. But don’t worry: Lionel Ritchie’s “Hello” might have been selected by \u003cem>The New York Times\u003c/em> as one of “\u003ca href=\"http://www.nytimes.com/interactive/2016/03/10/magazine/25-songs-that-tell-us-where-music-is-going.html\" target=\"_blank\" rel=\"noopener\">25 songs that tell us where music is going\u003c/a>,” but the mawkish ’80s ballad is unlikely to make an appearance at this evening of cover songs to kiss to. And there’s also an intriguing evening later in the month devoted to animal reproduction involving “dinosaur misogyny, female octopi capable of killing males during intercourse, a homosexual flamingo couple, and promiscuous pandas” hosted by zoologist and BBC broadcaster Jules Howard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think it’s racy,” Lane says of the entire \u003cem>Uninhibited About Sex\u003c/em> program. “But it’s also responsible. We’re not being salacious just to be salacious. Hopefully we’re being informative and educational.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> runs through Tuesday, May 31 at the Jewish Community Center of San Francisco. For more information, \u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">go here.\u003c/a>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Review: Is 'The Nest' Worth Its Famed Seven-Figure Advance?",
"headTitle": "Review: Is ‘The Nest’ Worth Its Famed Seven-Figure Advance? | KQED",
"content": "\u003cp>It wasn’t long ago that an author receiving a six-figure book advance was newsworthy. These days, it’s hardly worth mentioning. Publishers have moved onto the seven-figure advance. Not only are celebrities benefiting from this trend — Amy Schumer just received \u003ca href=\"http://www.nytimes.com/2015/10/01/books/for-amy-schumer-multimillion-dollar-book-deal-is-all-in-the-timing.html\" target=\"_blank\" rel=\"noopener\">a rumored $8 million\u003c/a> for a book of essays — so are \u003ca href=\"http://www.publishersweekly.com/pw/by-topic/industry-news/book-deals/article/64848-the-rise-of-the-seven-figure-advance.html\" target=\"_blank\" rel=\"noopener\">many first-time novelists\u003c/a>. It’s becoming common to hear about a writer getting at least a million dollars for a debut. \u003c/p>\n\u003cp>Cynthia D’Aprix Sweeney is one of those writers. Ecco bought her first novel, \u003cem>The Nest\u003c/em>, for seven figures. It’s fitting, then, that \u003cem>The Nest\u003c/em> is about money — the plot revolves around four siblings squabbling over a dwindling inheritance. Signs of the publisher’s investment are all over the book, including a blurb by Amy Poehler. More famous actors and authors talk about having siblings in \u003ca href=\"http://www.ew.com/article/2016/01/12/the-nest-book-trailer\" target=\"_blank\" rel=\"noopener\">\u003cem>The Nest\u003c/em> book trailer\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_11397561\" class=\"wp-caption alignright\" style=\"max-width: 449px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/CynthiaSweeny.Authorphoto-449x600.jpg\" alt=\"Cynthia D'Aprix Sweeney.\" width=\"449\" height=\"600\" class=\"size-medium wp-image-11397561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CynthiaSweeny.Authorphoto-449x600.jpg 449w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CynthiaSweeny.Authorphoto-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CynthiaSweeny.Authorphoto.jpg 599w\" sizes=\"(max-width: 449px) 100vw, 449px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia D’Aprix Sweeney. \u003ccite>(Courtesy Ecco/Harper Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I have mixed feelings about seven-figure book advances. On one hand, I’m all for writers making money, since they usually work for low pay. And Sweeney is the type of writer I like to see get a big advance. She isn’t a celebrity, for one thing. She’s a 50-something marketing copywriter from L.A. who wrote a novel in her spare time. The excitement seems based on the quality of the book alone, which is the ideal. \u003c/p>\n\u003cp>But aside from the fact that this chunk of money could have funded many other first novels in addition to \u003cem>The Nest\u003c/em>, it’s a lot of pressure to take a seven-figure advance. Novels frequently flop, especially debuts. If a writer can’t make back her advance, it can affect the rest of her career. For the reader, it can be difficult to approach a book like \u003cem>The Nest\u003c/em> without wondering what the fuss is about. It’s hard to separate the work from the price tag. \u003c/p>\n\u003cp>That said, I can see why publishers were fighting over \u003cem>The Nest\u003c/em>. It’s an engaging book that sucks you in the further you go. The four Plumb siblings could have come straight out of the TV show \u003cem>Arrested Development\u003c/em>. There’s charismatic Leo, who causes a car wreck that eats up the family’s joint trust fund. Then there’s nervous Melody, stuffy gay brother Jack, and Beatrice, a stalled writer who once had a promising literary career. The Plumbs are a fractured family circling around the selfish, distant Leo. “Who was Bea with Leo and who might she be without him?” Beatrice’s boss, Paul, wonders at one point. “Who might \u003cem>he\u003c/em> be without Leo in the picture? Who might they be together?” \u003c/p>\n\u003cfigure id=\"attachment_11397562\" class=\"wp-caption alignright\" style=\"max-width: 386px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/NestCover-386x600.png\" alt=\"'The Nest.'\" width=\"386\" height=\"600\" class=\"size-medium wp-image-11397562\">\u003cfigcaption class=\"wp-caption-text\">‘The Nest.’ \u003ccite>(Courtesy Ecco/Harper Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sweeney has a knack for characters. She’s able to convincingly inhabit different types of people, whether it’s a lesbian teen discovering her sexuality or a spoiled white man preoccupied with financial worries or a veteran who lost an arm in a war. She’s also a funny writer. \u003cem>The Nest\u003c/em> humorously skewers the wealthy worlds of Manhattan and Brooklyn, which sometimes feel similar to the Bay Area. Women walking by with Yoga mats react to Leo’s cigarette by waving their arms as if the smoke “was a swarm of stinging wasps.” Jack regrets that he didn’t purchase Brooklyn real estate when it was affordable. “\u003cem>Another lost opportunity\u003c/em>, Jack thought. Well, that was the story these days if you were a longtime New Yorker and hadn’t jumped on the real estate carousel at the right time.” When one of the teenage Plumbs won’t let a boy in the museum draw in her sketchbook, the mother’s passive-aggressive response feels like something that could happen in Berkeley. “How come she won’t share?” the little boy whined. “I don’t know honey,” his mother said. “Not everyone is a good sharer like you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At other times, the characters’ lives seem slightly absurd. Their preoccupations make them so blind to their advantages that they see other people’s problems as lesser than their own. Jack, for example, “envied the teens on the pier, hopping up and down to stay warm, drinking beer from a paper bag — no cares, no worries … Did kids even worry about being gay, worry about having to tell their families? He wished that was all he had to agonize about.” The reader is too invested in the characters to dismiss their concerns, no matter how shallow, which leaves the book’s tone off-kilter. Sometimes I didn’t know whether I was reading a satire or not. Because of this, Sweeney moralizes to make clear who’s right and who’s wrong. The characters tell each other off, saying things like, “Am I ignoring any other pat jingoistic self-serving sentiments that you’ve previously reviled but might now summon to defend your abhorrent greed?” Or they freeze each other out. When Melody expresses hesitation about her daughter’s lesbianism, her husband “walked away in disgust.” \u003c/p>\n\u003cp>As a result, \u003cem>The Nest\u003c/em> lacks complexity, as if Sweeney was uncomfortable with the likable aspects of her more politically problematic characters. The novel presents a friendly liberal worldview that’s light and reassuring, but with little room for shades of gray. It’s still a fun read. And, given the star power behind the book, it won’t be long before someone grabs the movie rights.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cynthia D’Aprix Sweeney reads on \u003ca href=\"http://www.bookpassage.com/event/cynthia-daprix-sweeney-nest\" target=\"_blank\" rel=\"noopener\">Wednesday, April 6, at Book Passage\u003c/a> in Corte Madera, and on \u003ca href=\"http://www.copperfieldsbooks.com/event/copperfields-pairing-cynthia-d%E2%80%99aprix-sweeney\" target=\"_blank\" rel=\"noopener\">Thursday, April 7, at Copperfield’s Books\u003c/a> in Healdsburg.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It wasn’t long ago that an author receiving a six-figure book advance was newsworthy. These days, it’s hardly worth mentioning. Publishers have moved onto the seven-figure advance. Not only are celebrities benefiting from this trend — Amy Schumer just received \u003ca href=\"http://www.nytimes.com/2015/10/01/books/for-amy-schumer-multimillion-dollar-book-deal-is-all-in-the-timing.html\" target=\"_blank\" rel=\"noopener\">a rumored $8 million\u003c/a> for a book of essays — so are \u003ca href=\"http://www.publishersweekly.com/pw/by-topic/industry-news/book-deals/article/64848-the-rise-of-the-seven-figure-advance.html\" target=\"_blank\" rel=\"noopener\">many first-time novelists\u003c/a>. It’s becoming common to hear about a writer getting at least a million dollars for a debut. \u003c/p>\n\u003cp>Cynthia D’Aprix Sweeney is one of those writers. Ecco bought her first novel, \u003cem>The Nest\u003c/em>, for seven figures. It’s fitting, then, that \u003cem>The Nest\u003c/em> is about money — the plot revolves around four siblings squabbling over a dwindling inheritance. Signs of the publisher’s investment are all over the book, including a blurb by Amy Poehler. More famous actors and authors talk about having siblings in \u003ca href=\"http://www.ew.com/article/2016/01/12/the-nest-book-trailer\" target=\"_blank\" rel=\"noopener\">\u003cem>The Nest\u003c/em> book trailer\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_11397561\" class=\"wp-caption alignright\" style=\"max-width: 449px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/CynthiaSweeny.Authorphoto-449x600.jpg\" alt=\"Cynthia D'Aprix Sweeney.\" width=\"449\" height=\"600\" class=\"size-medium wp-image-11397561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CynthiaSweeny.Authorphoto-449x600.jpg 449w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CynthiaSweeny.Authorphoto-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/CynthiaSweeny.Authorphoto.jpg 599w\" sizes=\"(max-width: 449px) 100vw, 449px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia D’Aprix Sweeney. \u003ccite>(Courtesy Ecco/Harper Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I have mixed feelings about seven-figure book advances. On one hand, I’m all for writers making money, since they usually work for low pay. And Sweeney is the type of writer I like to see get a big advance. She isn’t a celebrity, for one thing. She’s a 50-something marketing copywriter from L.A. who wrote a novel in her spare time. The excitement seems based on the quality of the book alone, which is the ideal. \u003c/p>\n\u003cp>But aside from the fact that this chunk of money could have funded many other first novels in addition to \u003cem>The Nest\u003c/em>, it’s a lot of pressure to take a seven-figure advance. Novels frequently flop, especially debuts. If a writer can’t make back her advance, it can affect the rest of her career. For the reader, it can be difficult to approach a book like \u003cem>The Nest\u003c/em> without wondering what the fuss is about. It’s hard to separate the work from the price tag. \u003c/p>\n\u003cp>That said, I can see why publishers were fighting over \u003cem>The Nest\u003c/em>. It’s an engaging book that sucks you in the further you go. The four Plumb siblings could have come straight out of the TV show \u003cem>Arrested Development\u003c/em>. There’s charismatic Leo, who causes a car wreck that eats up the family’s joint trust fund. Then there’s nervous Melody, stuffy gay brother Jack, and Beatrice, a stalled writer who once had a promising literary career. The Plumbs are a fractured family circling around the selfish, distant Leo. “Who was Bea with Leo and who might she be without him?” Beatrice’s boss, Paul, wonders at one point. “Who might \u003cem>he\u003c/em> be without Leo in the picture? Who might they be together?” \u003c/p>\n\u003cfigure id=\"attachment_11397562\" class=\"wp-caption alignright\" style=\"max-width: 386px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/NestCover-386x600.png\" alt=\"'The Nest.'\" width=\"386\" height=\"600\" class=\"size-medium wp-image-11397562\">\u003cfigcaption class=\"wp-caption-text\">‘The Nest.’ \u003ccite>(Courtesy Ecco/Harper Collins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sweeney has a knack for characters. She’s able to convincingly inhabit different types of people, whether it’s a lesbian teen discovering her sexuality or a spoiled white man preoccupied with financial worries or a veteran who lost an arm in a war. She’s also a funny writer. \u003cem>The Nest\u003c/em> humorously skewers the wealthy worlds of Manhattan and Brooklyn, which sometimes feel similar to the Bay Area. Women walking by with Yoga mats react to Leo’s cigarette by waving their arms as if the smoke “was a swarm of stinging wasps.” Jack regrets that he didn’t purchase Brooklyn real estate when it was affordable. “\u003cem>Another lost opportunity\u003c/em>, Jack thought. Well, that was the story these days if you were a longtime New Yorker and hadn’t jumped on the real estate carousel at the right time.” When one of the teenage Plumbs won’t let a boy in the museum draw in her sketchbook, the mother’s passive-aggressive response feels like something that could happen in Berkeley. “How come she won’t share?” the little boy whined. “I don’t know honey,” his mother said. “Not everyone is a good sharer like you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At other times, the characters’ lives seem slightly absurd. Their preoccupations make them so blind to their advantages that they see other people’s problems as lesser than their own. Jack, for example, “envied the teens on the pier, hopping up and down to stay warm, drinking beer from a paper bag — no cares, no worries … Did kids even worry about being gay, worry about having to tell their families? He wished that was all he had to agonize about.” The reader is too invested in the characters to dismiss their concerns, no matter how shallow, which leaves the book’s tone off-kilter. Sometimes I didn’t know whether I was reading a satire or not. Because of this, Sweeney moralizes to make clear who’s right and who’s wrong. The characters tell each other off, saying things like, “Am I ignoring any other pat jingoistic self-serving sentiments that you’ve previously reviled but might now summon to defend your abhorrent greed?” Or they freeze each other out. When Melody expresses hesitation about her daughter’s lesbianism, her husband “walked away in disgust.” \u003c/p>\n\u003cp>As a result, \u003cem>The Nest\u003c/em> lacks complexity, as if Sweeney was uncomfortable with the likable aspects of her more politically problematic characters. The novel presents a friendly liberal worldview that’s light and reassuring, but with little room for shades of gray. It’s still a fun read. And, given the star power behind the book, it won’t be long before someone grabs the movie rights.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cynthia D’Aprix Sweeney reads on \u003ca href=\"http://www.bookpassage.com/event/cynthia-daprix-sweeney-nest\" target=\"_blank\" rel=\"noopener\">Wednesday, April 6, at Book Passage\u003c/a> in Corte Madera, and on \u003ca href=\"http://www.copperfieldsbooks.com/event/copperfields-pairing-cynthia-d%E2%80%99aprix-sweeney\" target=\"_blank\" rel=\"noopener\">Thursday, April 7, at Copperfield’s Books\u003c/a> in Healdsburg.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Fun Home,\u003c/em> the first Broadway musical with a lesbian protagonist, is coming to San Francisco. \u003c/p>\n\u003cp>The musical is based on an award winning graphic novel — really a memoir — by Alison Bechdel. The Tony wining musical adaptation of the novel, with music by \u003ca href=\"http://www.masterworksbroadway.com/artist/jeanine-tesori/\" target=\"_blank\" rel=\"noopener\">Jeanine Tesori \u003c/a>and lyrics and book by \u003ca href=\"http://PLmdYg8hpYRaGZ\" target=\"_blank\" rel=\"noopener\">Lisa Kron\u003c/a>, will be the first production for the reopened \u003ca href=\"http://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">Curran Theatre\u003c/a> in January of 2017.\u003c/p>\n\u003cp>Promoter Carol Shorenstein Hays announced the booking Monday evening at an event at the Curran, now undergoing renovation, featuring the musical’s principal creators: Bechdel, Tesori, Kron, and director Sam Gold.\u003c/p>\n\u003cfigure id=\"attachment_11407162\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11407162\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_3141-800x586.jpg\" alt=\"Curran Theatre owner Carol Shorenstein Hays\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-1180x864.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-1920x1405.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-960x703.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curran Theatre owner Carol Shorenstein Hays \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hays said \u003cem>Fun Home\u003c/em> is the kind of work she hopes to showcase at the Curran: “Brave and bold.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=USae9nIwqhk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book and the musical tell the story of Bechdel’s dysfunctional family, her relationship with her closeted gay father and her own recognition as a teenager that she was gay. Bechdel is also famous for her work on the comic strip \u003cem>\u003ca href=\"http://dykestowatchoutfor.com/\" target=\"_blank\" rel=\"noopener\">Dykes to Watch Out For\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>“I don’t think this (play) could have happened 10 years ago,” Bechdel said. “People weren’t ready for a queer story (on Broadway).”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And yes, by the way, Alison Bechdel and her friend Liz Wallace are responsible for what’s known as the Bechdel-Wallace test, where a work of fiction, usually a movie, is judged on whether it features at least two women who talk to each other about something other than a man. \u003cem>Fun Home\u003c/em> passes the test.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Fun Home,\u003c/em> the first Broadway musical with a lesbian protagonist, is coming to San Francisco. \u003c/p>\n\u003cp>The musical is based on an award winning graphic novel — really a memoir — by Alison Bechdel. The Tony wining musical adaptation of the novel, with music by \u003ca href=\"http://www.masterworksbroadway.com/artist/jeanine-tesori/\" target=\"_blank\" rel=\"noopener\">Jeanine Tesori \u003c/a>and lyrics and book by \u003ca href=\"http://PLmdYg8hpYRaGZ\" target=\"_blank\" rel=\"noopener\">Lisa Kron\u003c/a>, will be the first production for the reopened \u003ca href=\"http://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">Curran Theatre\u003c/a> in January of 2017.\u003c/p>\n\u003cp>Promoter Carol Shorenstein Hays announced the booking Monday evening at an event at the Curran, now undergoing renovation, featuring the musical’s principal creators: Bechdel, Tesori, Kron, and director Sam Gold.\u003c/p>\n\u003cfigure id=\"attachment_11407162\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11407162\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_3141-800x586.jpg\" alt=\"Curran Theatre owner Carol Shorenstein Hays\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-1180x864.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-1920x1405.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-960x703.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curran Theatre owner Carol Shorenstein Hays \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hays said \u003cem>Fun Home\u003c/em> is the kind of work she hopes to showcase at the Curran: “Brave and bold.”\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/USae9nIwqhk'\n title='//www.youtube.com/embed/USae9nIwqhk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book and the musical tell the story of Bechdel’s dysfunctional family, her relationship with her closeted gay father and her own recognition as a teenager that she was gay. Bechdel is also famous for her work on the comic strip \u003cem>\u003ca href=\"http://dykestowatchoutfor.com/\" target=\"_blank\" rel=\"noopener\">Dykes to Watch Out For\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>“I don’t think this (play) could have happened 10 years ago,” Bechdel said. “People weren’t ready for a queer story (on Broadway).”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And yes, by the way, Alison Bechdel and her friend Liz Wallace are responsible for what’s known as the Bechdel-Wallace test, where a work of fiction, usually a movie, is judged on whether it features at least two women who talk to each other about something other than a man. \u003cem>Fun Home\u003c/em> passes the test.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Thornback and Proud: On Rebecca Traister's 'All the Single Ladies'",
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"content": "\u003cblockquote>\u003cp>\u003cem>Marriage is traditionally the destiny offered to women by society. Most women are married or have been, or plan to be or suffer from not being\u003c/em>. – Simone de Beauvoir\u003c/p>\u003c/blockquote>\n\u003cp>When I was 24, my best friend and I were invited to the wedding of a woman, our age, that we knew from the feminist punk scene. She was marrying her high school boyfriend. Britt and I wore wigs to the ceremony — though it wasn’t that kind of party. Looking back, I think we subconsciously felt like the whole idea of marriage was so peculiar, so weird, that we needed to make a statement. Why not make a spectacle at a spectacle?\u003c/p>\n\u003cp>For the majority of my posse of foxy, nonconformist friends, marriage was as distant and cold as Siberia. We had way more fun things to do. Bands to see. Global travel adventures to plan. Boys and girls to hook up with. Degrees to finish. Music to write. Stories to publish. Protests to plan. Weddings? No thanks. Besides, we had each other for companionship, love, and support. Sure, some were in committed relationships, but we absolutely, positively were \u003cem>not\u003c/em> looking to get married. Marriage to me looked stifling, patriarchal, oppressive, and — worst of all — boring. Back in colonial times, we would have been referred to has “\u003ca href=\"http://friendsoflajollashores.com/marinelife/thornbackray/\">thornbacks\u003c/a>,” the word for an unmarried woman over the age of 26.\u003c/p>\n\u003cp>Just a generation before, things were different. My mom married my dad at the age of 19, to live with him during Army training. Her two sisters married young as well. Neither of those marriages lasted long; my parents, on the other hand, have been together since 1969.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11397688 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/all-the-single-ladies-9781476716565_hr-e1457732029377.jpg\" alt=\"all-the-single-ladies-9781476716565_hr\" width=\"356\" height=\"538\">\u003c/p>\n\u003cp>I got to thinking about marriage, and the single life, and what it all means after reading\u003cem> All the Single Ladies: Unmarried Women and the Rise of an Independent Nation\u003c/em>, the excellent and engrossing new book by Rebecca Traister. A keen blend of history, socio-cultural commentary and memoir, the book reads as a prism of issues, struggles, and victories surrounding single women in America — both today and throughout history. We are now living in the “epoch of single women,” writes Traister. As such, it’s time for government and legislators to step up to the policy plate and build a world around this new, impressive, and fully data-supported reality.\u003c/p>\n\u003cblockquote>\u003cp>“Single women are taking up space in a world that was not built for them. We are a new republic, with a new category of citizen. If we are to flourish, we must make room for free women, must adjust our economic and social systems, the ones that are built around the presumption that no woman really counts unless she is married.”\u003c/p>\u003c/blockquote>\n\u003cp>The choice to be single is not a new phenomenon. But, statistically, there are far more single ladies in the U.S. now than ever before. As of 2009, the “number of adults younger than thirty-four who had never married was up to 46 percent.” For the first time in history, due to a complex political, cultural, and economic stew, single women outnumber married women. More women are also choosing to delay marriage, if they marry at all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I didn’t marry until I was 34, and not without a fair amount of trepidation. It was exciting to be engaged to a man that I loved, to make such a big commitment. It was also terrifying. I felt like a wild horse about to be tamed. I had built a life of creativity, of socializing with my friends and basking in my own agency. As such, I found much to identify with in Traister’s nuanced look at the steadily increasing sexual, economic, and cultural power of single women in the U.S.\u003c/p>\n\u003cp>So why do people get married in 2016? Lots of reasons, explains Traister. In rural areas, being single can still be a rough path to take, and so women marry out of religious or social pressure. Many people these days marry for love, whether they are fooling themselves or not. Others marry, as one of my Facebook friends put it, “for financial aid and health insurance.” Marriage, if anything, has become a more complicated proposition than it was 100 years ago, when marrying was simply the expected thing to do, for better or for worse.\u003c/p>\n\u003cfigure id=\"attachment_11397689\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/rebeccatraister-headshot.jpg\" alt=\"Rebecca Traister.\" width=\"600\" height=\"400\" class=\"size-full wp-image-11397689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/rebeccatraister-headshot.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/rebeccatraister-headshot-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Rebecca Traister. \u003ccite>(Eliza Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I also discovered that I’m not alone in my choice to marry later in life. This is a good thing, argues Traister. Despite what conservative pundits bemoaning the dismal drop in early marriage rates might argue, the postponement of marriage, and the prolonged ability for women to be single, has actually made the whole institution a better place to live.\u003c/p>\n\u003cblockquote>\u003cp>“The women who, for centuries, have been fighting to be able to stay single longer or forever, who have been blasting new paths and new space for themselves in the world, have made an impression on their fellow citizens. In delaying marriage, they have made it more conceivable to riff on it, to do it later, to do it differently, to do it better.”\u003c/p>\u003c/blockquote>\n\u003cp>Yet there’s also a range of reasons why women choose not to marry. Some, like Lena Dunham, the poster girl for single millennial creative success, most likely view marriage as an infringement on creative freedom, and not a requirement for full lady status. Or, as Traister \u003ca href=\"http://jezebel.com/marriage-changes-when-you-dont-just-need-a-warm-body-an-1762007106\">told\u003c/a> Jia Tolentino in a Jezebel interview: “Yes, marriage changes if you don’t just need a warm body and a paycheck. If you can get your \u003cem>own \u003c/em>paycheck—if you can have a baby on your own—if you can have a sex life…” Young women now also have “alternate models of female life more visible and available to them.” Others, like some of the women profiled in Traister’s book, live in poor communities, where high rates of incarceration, unemployment, and domestic violence make marriage unappealing, if not downright impossible.\u003c/p>\n\u003cp>[contextly_sidebar id=”cXZTFRmtKZI9ygySkt957yNPHiUMjZOt”]\u003c/p>\n\u003cp>Another element of single life that Traister covers well is female friendship. “Among the largely unacknowledged truths of female life is that women’s primary, foundational, formative relationships are as likely to be with each other as they are with the men we’ve been told since childhood are supposed to be the ones who complete us,” she writes.\u003c/p>\n\u003cp>My husband sometimes comments on how easily I make friends, and how devoted I am to those friends once they are in my life. It’s true. I take the \u003ca href=\"https://en.wikipedia.org/wiki/Anne_Shirley\">Anne Shirley \u003c/a>approach to friendship, a feverish devotion. (“It’s about Diana,’ sobbed Anne luxuriously. ‘I love Diana so, Marilla. I cannot ever live without her. But I know very well when we grow up that Diana will get married and go away and leave me.”) My old friends from my fancy-free twenties mostly live in different cities now, but we still have a love that bonds us, hopefully until the end of our lives. Not all of us are single ladies anymore, but most of us who married did so late, if at all — shaped already by years of female bonding, sexual experimentation, college and graduate school, travel and adventure. We got our taste of freedom. It shaped us, it shifted us, and it made us who we are today. If I’d gotten married at 22, and had kids early, I don’t think I’d have the same sense of self. Nor would I have these deep friendships that sustain me as much as my marriage does, in different, just-as-essential ways.\u003c/p>\n\u003cp>\u003cem>All the Single Ladies\u003c/em> left me with one burning question. Why do women get married these days? I can count on one hand my few friends that have married for religious reasons. But most of my married friends are savvy, strong, and smart people who could easily make it through life without a husband or wife. Is everyone marrying for love?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I don’t have an answer. But reading \u003cem>All the Single Ladies\u003c/em> has me thinking about how we, as a society and a country, can better support and celebrate the single woman, whatever her age, class, or status. Traister shares a few suggestions for how to do this, policy-wise, and they are good. Most of all, the book handed me a new lens through which to view my single twenties, my choice to marry late, and the choice of others in my friend circle and beyond to stay permanently single. This is not an aberration. This is an evolution, and not a minute too soon.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cblockquote>\u003cp>\u003cem>Marriage is traditionally the destiny offered to women by society. Most women are married or have been, or plan to be or suffer from not being\u003c/em>. – Simone de Beauvoir\u003c/p>\u003c/blockquote>\n\u003cp>When I was 24, my best friend and I were invited to the wedding of a woman, our age, that we knew from the feminist punk scene. She was marrying her high school boyfriend. Britt and I wore wigs to the ceremony — though it wasn’t that kind of party. Looking back, I think we subconsciously felt like the whole idea of marriage was so peculiar, so weird, that we needed to make a statement. Why not make a spectacle at a spectacle?\u003c/p>\n\u003cp>For the majority of my posse of foxy, nonconformist friends, marriage was as distant and cold as Siberia. We had way more fun things to do. Bands to see. Global travel adventures to plan. Boys and girls to hook up with. Degrees to finish. Music to write. Stories to publish. Protests to plan. Weddings? No thanks. Besides, we had each other for companionship, love, and support. Sure, some were in committed relationships, but we absolutely, positively were \u003cem>not\u003c/em> looking to get married. Marriage to me looked stifling, patriarchal, oppressive, and — worst of all — boring. Back in colonial times, we would have been referred to has “\u003ca href=\"http://friendsoflajollashores.com/marinelife/thornbackray/\">thornbacks\u003c/a>,” the word for an unmarried woman over the age of 26.\u003c/p>\n\u003cp>Just a generation before, things were different. My mom married my dad at the age of 19, to live with him during Army training. Her two sisters married young as well. Neither of those marriages lasted long; my parents, on the other hand, have been together since 1969.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11397688 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/all-the-single-ladies-9781476716565_hr-e1457732029377.jpg\" alt=\"all-the-single-ladies-9781476716565_hr\" width=\"356\" height=\"538\">\u003c/p>\n\u003cp>I got to thinking about marriage, and the single life, and what it all means after reading\u003cem> All the Single Ladies: Unmarried Women and the Rise of an Independent Nation\u003c/em>, the excellent and engrossing new book by Rebecca Traister. A keen blend of history, socio-cultural commentary and memoir, the book reads as a prism of issues, struggles, and victories surrounding single women in America — both today and throughout history. We are now living in the “epoch of single women,” writes Traister. As such, it’s time for government and legislators to step up to the policy plate and build a world around this new, impressive, and fully data-supported reality.\u003c/p>\n\u003cblockquote>\u003cp>“Single women are taking up space in a world that was not built for them. We are a new republic, with a new category of citizen. If we are to flourish, we must make room for free women, must adjust our economic and social systems, the ones that are built around the presumption that no woman really counts unless she is married.”\u003c/p>\u003c/blockquote>\n\u003cp>The choice to be single is not a new phenomenon. But, statistically, there are far more single ladies in the U.S. now than ever before. As of 2009, the “number of adults younger than thirty-four who had never married was up to 46 percent.” For the first time in history, due to a complex political, cultural, and economic stew, single women outnumber married women. More women are also choosing to delay marriage, if they marry at all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I didn’t marry until I was 34, and not without a fair amount of trepidation. It was exciting to be engaged to a man that I loved, to make such a big commitment. It was also terrifying. I felt like a wild horse about to be tamed. I had built a life of creativity, of socializing with my friends and basking in my own agency. As such, I found much to identify with in Traister’s nuanced look at the steadily increasing sexual, economic, and cultural power of single women in the U.S.\u003c/p>\n\u003cp>So why do people get married in 2016? Lots of reasons, explains Traister. In rural areas, being single can still be a rough path to take, and so women marry out of religious or social pressure. Many people these days marry for love, whether they are fooling themselves or not. Others marry, as one of my Facebook friends put it, “for financial aid and health insurance.” Marriage, if anything, has become a more complicated proposition than it was 100 years ago, when marrying was simply the expected thing to do, for better or for worse.\u003c/p>\n\u003cfigure id=\"attachment_11397689\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/rebeccatraister-headshot.jpg\" alt=\"Rebecca Traister.\" width=\"600\" height=\"400\" class=\"size-full wp-image-11397689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/rebeccatraister-headshot.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/rebeccatraister-headshot-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Rebecca Traister. \u003ccite>(Eliza Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I also discovered that I’m not alone in my choice to marry later in life. This is a good thing, argues Traister. Despite what conservative pundits bemoaning the dismal drop in early marriage rates might argue, the postponement of marriage, and the prolonged ability for women to be single, has actually made the whole institution a better place to live.\u003c/p>\n\u003cblockquote>\u003cp>“The women who, for centuries, have been fighting to be able to stay single longer or forever, who have been blasting new paths and new space for themselves in the world, have made an impression on their fellow citizens. In delaying marriage, they have made it more conceivable to riff on it, to do it later, to do it differently, to do it better.”\u003c/p>\u003c/blockquote>\n\u003cp>Yet there’s also a range of reasons why women choose not to marry. Some, like Lena Dunham, the poster girl for single millennial creative success, most likely view marriage as an infringement on creative freedom, and not a requirement for full lady status. Or, as Traister \u003ca href=\"http://jezebel.com/marriage-changes-when-you-dont-just-need-a-warm-body-an-1762007106\">told\u003c/a> Jia Tolentino in a Jezebel interview: “Yes, marriage changes if you don’t just need a warm body and a paycheck. If you can get your \u003cem>own \u003c/em>paycheck—if you can have a baby on your own—if you can have a sex life…” Young women now also have “alternate models of female life more visible and available to them.” Others, like some of the women profiled in Traister’s book, live in poor communities, where high rates of incarceration, unemployment, and domestic violence make marriage unappealing, if not downright impossible.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Another element of single life that Traister covers well is female friendship. “Among the largely unacknowledged truths of female life is that women’s primary, foundational, formative relationships are as likely to be with each other as they are with the men we’ve been told since childhood are supposed to be the ones who complete us,” she writes.\u003c/p>\n\u003cp>My husband sometimes comments on how easily I make friends, and how devoted I am to those friends once they are in my life. It’s true. I take the \u003ca href=\"https://en.wikipedia.org/wiki/Anne_Shirley\">Anne Shirley \u003c/a>approach to friendship, a feverish devotion. (“It’s about Diana,’ sobbed Anne luxuriously. ‘I love Diana so, Marilla. I cannot ever live without her. But I know very well when we grow up that Diana will get married and go away and leave me.”) My old friends from my fancy-free twenties mostly live in different cities now, but we still have a love that bonds us, hopefully until the end of our lives. Not all of us are single ladies anymore, but most of us who married did so late, if at all — shaped already by years of female bonding, sexual experimentation, college and graduate school, travel and adventure. We got our taste of freedom. It shaped us, it shifted us, and it made us who we are today. If I’d gotten married at 22, and had kids early, I don’t think I’d have the same sense of self. Nor would I have these deep friendships that sustain me as much as my marriage does, in different, just-as-essential ways.\u003c/p>\n\u003cp>\u003cem>All the Single Ladies\u003c/em> left me with one burning question. Why do women get married these days? I can count on one hand my few friends that have married for religious reasons. But most of my married friends are savvy, strong, and smart people who could easily make it through life without a husband or wife. Is everyone marrying for love?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I don’t have an answer. But reading \u003cem>All the Single Ladies\u003c/em> has me thinking about how we, as a society and a country, can better support and celebrate the single woman, whatever her age, class, or status. Traister shares a few suggestions for how to do this, policy-wise, and they are good. Most of all, the book handed me a new lens through which to view my single twenties, my choice to marry late, and the choice of others in my friend circle and beyond to stay permanently single. This is not an aberration. This is an evolution, and not a minute too soon.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Litquake Palo Alto, Dana Spiotta, and Prostitute Laundry: Lit Picks for March 9 - 20",
"headTitle": "Litquake Palo Alto, Dana Spiotta, and Prostitute Laundry: Lit Picks for March 9 – 20 | KQED",
"content": "\u003cp>In this month’s lit news, we can look forward to Silicon Valley’s version of Litquake, an afternoon with a subversive literary star at San Francisco’s Cafe Zoetrope, and conversations between smart, cool, young women with much to say about feminism, poetry, sex work, and love.\u003c/p>\n\u003cp>\u003cstrong>Wednesday, March 9: Jenny Zhang and Charlotte Shane at Green Apple Books, SF\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11377069\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/I5DFcP3c.jpg\" alt=\"I5DFcP3c\" width=\"198\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/I5DFcP3c.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/I5DFcP3c-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/I5DFcP3c-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/I5DFcP3c-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/I5DFcP3c-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/I5DFcP3c-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/I5DFcP3c-75x75.jpg 75w\" sizes=\"(max-width: 198px) 100vw, 198px\">As an editor at \u003ca href=\"http://www.rookiemag.com/author/Jenny/\">Rookie Magazine \u003c/a>(Tavi Gevinson’s magnum opus) Jenny Zhang has her figure on the pulse of all that is culturally cool. She’s also an accomplished poet and writer, as seen in her 2012 poetry collection \u003cem>Dear Jenny, We Are All Find\u003c/em>. She’ll be in conversation about sex work, relationships, and feminism with Charlotte Shane, the writer and sex worker who gained a buzz with \u003cem>Prostitute Laundry,\u003c/em> her 2014 \u003ca href=\"http://www.bkmag.com/2016/02/02/meet-charlotte-shane-author-and-publisher-of-prostitute-laundry/\">newsletter\u003c/a> on Tiny Letter (which later became a book) about life as a young woman in a conflicted and complicated society. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-charlotte-shane-and-jenny-zhang\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Friday, March 11: Dana Spiotta at Cafe Zoetrope, SF.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11376968\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SpiottaDana.by_.JessicaMarx-900-e1457032728979.jpg\" alt=\"SpiottaDana.by_.JessicaMarx-900\" width=\"174\" height=\"232\">A recent \u003cem>New York Times\u003c/em> \u003ca href=\"http://www.nytimes.com/2016/02/21/magazine/the-quietly-subversive-fictions-of-dana-spiotta.html?smtyp=cur\">profile\u003c/a> described Dana Spiotta’s writing as “radiant and concentrated.” The novelist, who lives and teaches in Syracuse, New York has come close to winning the National Book Award at least once, and has earned accolades from the likes of George Saunders, who called her gaze “smarty and witty.” Spiotta’s latest novel, \u003cem>Innocents and Others\u003c/em>, tells the story of two best friends, growing up in LA in the ’80s. Both become filmmakers. And both find their lives changed after meeting an older, mysterious woman named Jelly who “cold calls powerful men and seduces them not through sex but through listening.” This event features an opening statement from \u003cem>Zoetrope: All Story\u003c/em> editor Michael Ray. \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=2606\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sunday, March 13: Litquake at Oshman Family JCC, Palo Alto\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11377067\" class=\"wp-caption alignleft\" style=\"max-width: 205px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377067 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/yangzhex.jpg\" alt=\"yangzhex\" width=\"205\" height=\"246\">\u003cfigcaption class=\"wp-caption-text\">Yangsze Choo is a featured writer at Litquake Palo Alto on March 13\u003c/figcaption>\u003c/figure>\n\u003cp>Litquake puts on some stellar events and the Palo Alto version is no exception. This year’s event, which is free, BTW, features a host of great authors, including Daniel Handler (otherwise known as Lemony Snicket), Joyce Maynard, Bich Minh Nguyen, Yangsze Choo, and Kevin Sessums. For food lovers, there’s J. Kenji Lopez-Alt, author of \u003cem>The Food Lab: Better Home Cooking Through Science\u003c/em>. In addition to keynote speaker Joyce Carol Oates, there will be salons on topics like Women in Politics and Cross-Cultural Literature. Plus, kids’ workshops and a young adult salon for reading teens. All good stuff. \u003ca href=\"http://paloaltojcc.org/Events/litquake-palo-alto-2016\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, March 13: M.F.K Fisher Book Launch at Copperfield’s Books, Healdsburg\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11377066\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/index.jpg\" alt=\"index\" width=\"199\" height=\"293\">I \u003ca href=\"http://ww2.kqed.org/arts/2016/02/15/how-hunger-made-m-f-k-fisher-a-modern-girl/\">wrote \u003c/a>about MFK Fisher last month, and lo and behold. That same week an unpublished novel by the prolific food and travel writer was about to be released into the world. The \u003cem>Theoretical Foot\u003c/em> is an autobiographical novel set in 1930’s Switzerland. It tells a fictionalized version of Fisher’s real story that began when her second husband, Tim Parrish, began developing a circulatory disease that led to the amputation of his leg. According to the book’s description, the “agony of his phantom limb – the theoretical foot of the title- eventually drove him to suicide.” Kennedy Golden, Fisher’s daughter, will be on hand to discuss the newly excavated novel, along with Jane Vandenburgh, the author of the afterword. \u003ca href=\"http://www.copperfieldsbooks.com/event/mfk-book-launch-celebration-kennedy-golden-jane-vandenburgh\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, March 19: \u003cem>Cross-Strokes Anthology\u003c/em> launch at Pegasus Books, Berkeley\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11377068\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/crossstrokes_cover.png\" alt=\"crossstrokes_cover\" width=\"211\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/crossstrokes_cover.png 422w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/crossstrokes_cover-400x569.png 400w\" sizes=\"(max-width: 211px) 100vw, 211px\">\u003ca href=\"http://www.latimes.com/local/obituaries/la-me-harold-norse13-2009jun13-story.html\">Harold Norse\u003c/a> is one of the lesser known voices of the Beat poets, though when he died at the age of 92, he had outlived most of his peers. He was also one of many poets who beat a track between San Francisco and Los Angeles after World War II, when transitory migrations inspired by \u003cem>On the Road\u003c/em> became a thing. A new anthology edited by Neeli Cherkovski and Bill Mohr, \u003cem>Cross-Strokes: Poetry Between Los Angeles and San Francisco\u003c/em>, gathers poetry and writings from over two dozen figures with presences up and down the West Cost. In doing so, they “trace the restless poetics that epitomizes the small press movement in California.” The book launch will feature readings from the anthology by Neeli Cherkovksi, Tim Donnelly, Stephen Kessler, Jack and Adelle Foley, and Bucky Sinister, and others. \u003ca href=\"http://www.pegasusbookstore.com/event/cross-strokes-anthology-east-bay-launch\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In this month’s lit news, we can look forward to Silicon Valley’s version of Litquake, an afternoon with a subversive literary star at San Francisco’s Cafe Zoetrope, and conversations between smart, cool, young women with much to say about feminism, poetry, sex work, and love.\u003c/p>\n\u003cp>\u003cstrong>Wednesday, March 9: Jenny Zhang and Charlotte Shane at Green Apple Books, SF\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11377069\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/I5DFcP3c.jpg\" alt=\"I5DFcP3c\" width=\"198\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/I5DFcP3c.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/I5DFcP3c-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/I5DFcP3c-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/I5DFcP3c-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/I5DFcP3c-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/I5DFcP3c-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/I5DFcP3c-75x75.jpg 75w\" sizes=\"(max-width: 198px) 100vw, 198px\">As an editor at \u003ca href=\"http://www.rookiemag.com/author/Jenny/\">Rookie Magazine \u003c/a>(Tavi Gevinson’s magnum opus) Jenny Zhang has her figure on the pulse of all that is culturally cool. She’s also an accomplished poet and writer, as seen in her 2012 poetry collection \u003cem>Dear Jenny, We Are All Find\u003c/em>. She’ll be in conversation about sex work, relationships, and feminism with Charlotte Shane, the writer and sex worker who gained a buzz with \u003cem>Prostitute Laundry,\u003c/em> her 2014 \u003ca href=\"http://www.bkmag.com/2016/02/02/meet-charlotte-shane-author-and-publisher-of-prostitute-laundry/\">newsletter\u003c/a> on Tiny Letter (which later became a book) about life as a young woman in a conflicted and complicated society. \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-charlotte-shane-and-jenny-zhang\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Friday, March 11: Dana Spiotta at Cafe Zoetrope, SF.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11376968\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SpiottaDana.by_.JessicaMarx-900-e1457032728979.jpg\" alt=\"SpiottaDana.by_.JessicaMarx-900\" width=\"174\" height=\"232\">A recent \u003cem>New York Times\u003c/em> \u003ca href=\"http://www.nytimes.com/2016/02/21/magazine/the-quietly-subversive-fictions-of-dana-spiotta.html?smtyp=cur\">profile\u003c/a> described Dana Spiotta’s writing as “radiant and concentrated.” The novelist, who lives and teaches in Syracuse, New York has come close to winning the National Book Award at least once, and has earned accolades from the likes of George Saunders, who called her gaze “smarty and witty.” Spiotta’s latest novel, \u003cem>Innocents and Others\u003c/em>, tells the story of two best friends, growing up in LA in the ’80s. Both become filmmakers. And both find their lives changed after meeting an older, mysterious woman named Jelly who “cold calls powerful men and seduces them not through sex but through listening.” This event features an opening statement from \u003cem>Zoetrope: All Story\u003c/em> editor Michael Ray. \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=2606\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, March 13: Litquake at Oshman Family JCC, Palo Alto\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11377067\" class=\"wp-caption alignleft\" style=\"max-width: 205px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377067 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/yangzhex.jpg\" alt=\"yangzhex\" width=\"205\" height=\"246\">\u003cfigcaption class=\"wp-caption-text\">Yangsze Choo is a featured writer at Litquake Palo Alto on March 13\u003c/figcaption>\u003c/figure>\n\u003cp>Litquake puts on some stellar events and the Palo Alto version is no exception. This year’s event, which is free, BTW, features a host of great authors, including Daniel Handler (otherwise known as Lemony Snicket), Joyce Maynard, Bich Minh Nguyen, Yangsze Choo, and Kevin Sessums. For food lovers, there’s J. Kenji Lopez-Alt, author of \u003cem>The Food Lab: Better Home Cooking Through Science\u003c/em>. In addition to keynote speaker Joyce Carol Oates, there will be salons on topics like Women in Politics and Cross-Cultural Literature. Plus, kids’ workshops and a young adult salon for reading teens. All good stuff. \u003ca href=\"http://paloaltojcc.org/Events/litquake-palo-alto-2016\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, March 13: M.F.K Fisher Book Launch at Copperfield’s Books, Healdsburg\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11377066\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/index.jpg\" alt=\"index\" width=\"199\" height=\"293\">I \u003ca href=\"http://ww2.kqed.org/arts/2016/02/15/how-hunger-made-m-f-k-fisher-a-modern-girl/\">wrote \u003c/a>about MFK Fisher last month, and lo and behold. That same week an unpublished novel by the prolific food and travel writer was about to be released into the world. The \u003cem>Theoretical Foot\u003c/em> is an autobiographical novel set in 1930’s Switzerland. It tells a fictionalized version of Fisher’s real story that began when her second husband, Tim Parrish, began developing a circulatory disease that led to the amputation of his leg. According to the book’s description, the “agony of his phantom limb – the theoretical foot of the title- eventually drove him to suicide.” Kennedy Golden, Fisher’s daughter, will be on hand to discuss the newly excavated novel, along with Jane Vandenburgh, the author of the afterword. \u003ca href=\"http://www.copperfieldsbooks.com/event/mfk-book-launch-celebration-kennedy-golden-jane-vandenburgh\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, March 19: \u003cem>Cross-Strokes Anthology\u003c/em> launch at Pegasus Books, Berkeley\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11377068\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/crossstrokes_cover.png\" alt=\"crossstrokes_cover\" width=\"211\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/crossstrokes_cover.png 422w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/crossstrokes_cover-400x569.png 400w\" sizes=\"(max-width: 211px) 100vw, 211px\">\u003ca href=\"http://www.latimes.com/local/obituaries/la-me-harold-norse13-2009jun13-story.html\">Harold Norse\u003c/a> is one of the lesser known voices of the Beat poets, though when he died at the age of 92, he had outlived most of his peers. He was also one of many poets who beat a track between San Francisco and Los Angeles after World War II, when transitory migrations inspired by \u003cem>On the Road\u003c/em> became a thing. A new anthology edited by Neeli Cherkovski and Bill Mohr, \u003cem>Cross-Strokes: Poetry Between Los Angeles and San Francisco\u003c/em>, gathers poetry and writings from over two dozen figures with presences up and down the West Cost. In doing so, they “trace the restless poetics that epitomizes the small press movement in California.” The book launch will feature readings from the anthology by Neeli Cherkovksi, Tim Donnelly, Stephen Kessler, Jack and Adelle Foley, and Bucky Sinister, and others. \u003ca href=\"http://www.pegasusbookstore.com/event/cross-strokes-anthology-east-bay-launch\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mothers, especially in America, can’t seem to catch a break. Let your child run wild in the woods or unchaperoned to the neighborhood market, and risk being arrested for neglect. Watch your child like a hawk, and risk accusations of \u003ca href=\"https://en.wikipedia.org/wiki/Helicopter_parent\" target=\"_blank\" rel=\"noopener\">helicopter parenting\u003c/a>.\u003c/p>\n\u003cp>For these reasons, the opening lines of \u003cem>What Lies Between Us\u003c/em> by Nayomi Munaweera gripped my imagination. Ganga, the novel’s narrator, is housed in a white cell painted an “industrial white.” The Sri Lankan-born American immigrant has done something “unthinkable,” an act that has made her the “worst thing possible,” a bad mother.\u003c/p>\n\u003cblockquote>\u003cp>“But here’s the secret: in America there are no good mothers. They simply don’t exist. Always, there are a thousand ways to fail at this singularly important job. There are failures of the body and failures of the heart. The woman who is unable to breastfeed is a failure. The woman who screams for an epidural is a failure. The woman who picks up her child late knows from the teacher’s cutting glance that she is a failure. The woman who shares her bed with her baby has failed. The woman who steels herself and puts on noise-canceling earphones to erase the screaming of her child in the next room has failed just as spectacularly. They must all hang their heads in guilt and shame because they haven’t done it perfectly, and motherhood is, if anything, the assumption of perfection.”\u003c/p>\u003c/blockquote>\n\u003cp>Soon, we learn that Ganga’s crime is much more severe.\u003c/p>\n\u003cp>Before the details are revealed, the novel jumps into the narrator’s history, starting with her traumatic birth in Sri Lanka which left her mother unable to bear more children. Amma, Ganga’s mother, grew up in a poor household, but married into a wealthy, ancestrally important Sinhalese Buddhist family. Ganga’s reclusive but seemingly loving father is a professor, though he works out of choice and not necessity, and her mother swings between gushing, almost overbearing love for her only child and a violent need to be alone. Amma suffers from migraines and spends days shut away in her room; at other moments, she floats around the kitchen cooking lemon crepes and watching with delighted love as her daughter wolfs down her food.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11356827 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/D33DE226-DE52-4009-87AE-90660AD7F530Img400.jpg\" alt=\"{D33DE226-DE52-4009-87AE-90660AD7F530}Img400\" width=\"300\" height=\"400\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Ganga grows older, Thatha, her father, spends increasing amounts of time shut away in his office, drinking arrack — a South Asian liquor — and grading papers. As youngsters are prone to do, Ganga turns to other adults for companionship. She talks with Sita, the family’s lifelong cook in the kitchen, and spends much time with Samson, the handyman and gardener.\u003c/p>\n\u003cp>But as Ganga approaches puberty, her innocent and pleasurable friendship with Samson morphs, suddenly churning into a poisonous shame. “Shame is female; shame is the price I must pay for this body,” she thinks. \u003cstrong>Tragedy ensues, and\u003c/strong> Ganga and her mother eventually must leave the island for America, where they’ve been offered a home with Amma’s sister, her husband, and daughter, a first cousin who becomes Ganga’s best friend and first love.\u003c/p>\n\u003cp>Ganga carries the shame, and the memory of lost men — her father and Samson — into her adult life in America. She studies at UC Berkeley, watching from afar as her cousin back home marries a Sri Lankan man and falls into the old ways of womanhood: motherhood, arranged marriage, little freedom. Ganga doesn’t want this, and she forges her own path, with unexpected consequences. After years of celibacy, she meets Daniel, an artist from a white, middle-class Southern family; he is the first man she feels safe with, comfortable enough to shed her defenses — and her clothes. Eventually, they marry, and soon after Daniel becomes a San Francisco art star. At the same time, their daughter is born, despite original misgivings about having children. Light-skinned, fair-haired Bodhi Ann upends their lives for good.\u003c/p>\n\u003cp>I’m unsure if it’s because I’m a mother to a daughter close in age to Bodhi Ann, Ganga’s daughter in \u003cem>What Lies Between Us\u003c/em>, but I found the passages about the connection between mother and daughter to be especially affecting. Munaweera writes with a taut, insightful awareness of the fraught nature of motherhood. One minute, it’s all dandelions, unicorns and sunshine, the next a cave of resentment and anger. It can be difficult to find the middle ground.\u003c/p>\n\u003cblockquote>\u003cp>“There is a sensation of a shroud dropped over my head, no more air to breathe. I don’t like this, I realize. I don’t like being a mommy. I love my child, but I don’t like motherhood. Motherhood is a constancy of a pair of eyes seeking you out, wanting you, needing you. It is the feeling that there is no darkness, no private place, no escape from those small but piercing eyes. I had not thought a child could intrude so completely on one’s solitude. I see now that she does not share my serenity but rather disrupts and shatters it. Now wherever I go, her eyes track me like a hunter’s.”\u003c/p>\u003c/blockquote>\n\u003cp>The last half of \u003cem>What Lies Between Us\u003c/em> is woven with a dreadful tension; we know from the novel’s opening sentences that something terrible will happen, but we somehow want to bring it to a skidding halt. Why can’t Ganga have her happy ending, her “sweetest of homecomings” to her “holy trinity” of mother, father, and child?\u003c/p>\n\u003cp>But the weight of the past, of horrific abuses of familial power, have scarred Ganga beyond repair. “They say that family is the place of safety. But sometimes this is the greatest lie; family is not sanctuary, it is not safety and succor. For some of us, it is the secret wound,” thinks Ganga, as everything comes to a head. “Sooner or later we pay for the woundings of our ancestors. This was the truth for me and for my beautiful bright-faced child.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There is no turning back, and we are along for the ride with Ganga to the deepest of waters. The swelling, driven by Munaweera’s opulent, lyrical sentences, will not abate.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mothers, especially in America, can’t seem to catch a break. Let your child run wild in the woods or unchaperoned to the neighborhood market, and risk being arrested for neglect. Watch your child like a hawk, and risk accusations of \u003ca href=\"https://en.wikipedia.org/wiki/Helicopter_parent\" target=\"_blank\" rel=\"noopener\">helicopter parenting\u003c/a>.\u003c/p>\n\u003cp>For these reasons, the opening lines of \u003cem>What Lies Between Us\u003c/em> by Nayomi Munaweera gripped my imagination. Ganga, the novel’s narrator, is housed in a white cell painted an “industrial white.” The Sri Lankan-born American immigrant has done something “unthinkable,” an act that has made her the “worst thing possible,” a bad mother.\u003c/p>\n\u003cblockquote>\u003cp>“But here’s the secret: in America there are no good mothers. They simply don’t exist. Always, there are a thousand ways to fail at this singularly important job. There are failures of the body and failures of the heart. The woman who is unable to breastfeed is a failure. The woman who screams for an epidural is a failure. The woman who picks up her child late knows from the teacher’s cutting glance that she is a failure. The woman who shares her bed with her baby has failed. The woman who steels herself and puts on noise-canceling earphones to erase the screaming of her child in the next room has failed just as spectacularly. They must all hang their heads in guilt and shame because they haven’t done it perfectly, and motherhood is, if anything, the assumption of perfection.”\u003c/p>\u003c/blockquote>\n\u003cp>Soon, we learn that Ganga’s crime is much more severe.\u003c/p>\n\u003cp>Before the details are revealed, the novel jumps into the narrator’s history, starting with her traumatic birth in Sri Lanka which left her mother unable to bear more children. Amma, Ganga’s mother, grew up in a poor household, but married into a wealthy, ancestrally important Sinhalese Buddhist family. Ganga’s reclusive but seemingly loving father is a professor, though he works out of choice and not necessity, and her mother swings between gushing, almost overbearing love for her only child and a violent need to be alone. Amma suffers from migraines and spends days shut away in her room; at other moments, she floats around the kitchen cooking lemon crepes and watching with delighted love as her daughter wolfs down her food.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11356827 aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/D33DE226-DE52-4009-87AE-90660AD7F530Img400.jpg\" alt=\"{D33DE226-DE52-4009-87AE-90660AD7F530}Img400\" width=\"300\" height=\"400\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Ganga grows older, Thatha, her father, spends increasing amounts of time shut away in his office, drinking arrack — a South Asian liquor — and grading papers. As youngsters are prone to do, Ganga turns to other adults for companionship. She talks with Sita, the family’s lifelong cook in the kitchen, and spends much time with Samson, the handyman and gardener.\u003c/p>\n\u003cp>But as Ganga approaches puberty, her innocent and pleasurable friendship with Samson morphs, suddenly churning into a poisonous shame. “Shame is female; shame is the price I must pay for this body,” she thinks. \u003cstrong>Tragedy ensues, and\u003c/strong> Ganga and her mother eventually must leave the island for America, where they’ve been offered a home with Amma’s sister, her husband, and daughter, a first cousin who becomes Ganga’s best friend and first love.\u003c/p>\n\u003cp>Ganga carries the shame, and the memory of lost men — her father and Samson — into her adult life in America. She studies at UC Berkeley, watching from afar as her cousin back home marries a Sri Lankan man and falls into the old ways of womanhood: motherhood, arranged marriage, little freedom. Ganga doesn’t want this, and she forges her own path, with unexpected consequences. After years of celibacy, she meets Daniel, an artist from a white, middle-class Southern family; he is the first man she feels safe with, comfortable enough to shed her defenses — and her clothes. Eventually, they marry, and soon after Daniel becomes a San Francisco art star. At the same time, their daughter is born, despite original misgivings about having children. Light-skinned, fair-haired Bodhi Ann upends their lives for good.\u003c/p>\n\u003cp>I’m unsure if it’s because I’m a mother to a daughter close in age to Bodhi Ann, Ganga’s daughter in \u003cem>What Lies Between Us\u003c/em>, but I found the passages about the connection between mother and daughter to be especially affecting. Munaweera writes with a taut, insightful awareness of the fraught nature of motherhood. One minute, it’s all dandelions, unicorns and sunshine, the next a cave of resentment and anger. It can be difficult to find the middle ground.\u003c/p>\n\u003cblockquote>\u003cp>“There is a sensation of a shroud dropped over my head, no more air to breathe. I don’t like this, I realize. I don’t like being a mommy. I love my child, but I don’t like motherhood. Motherhood is a constancy of a pair of eyes seeking you out, wanting you, needing you. It is the feeling that there is no darkness, no private place, no escape from those small but piercing eyes. I had not thought a child could intrude so completely on one’s solitude. I see now that she does not share my serenity but rather disrupts and shatters it. Now wherever I go, her eyes track me like a hunter’s.”\u003c/p>\u003c/blockquote>\n\u003cp>The last half of \u003cem>What Lies Between Us\u003c/em> is woven with a dreadful tension; we know from the novel’s opening sentences that something terrible will happen, but we somehow want to bring it to a skidding halt. Why can’t Ganga have her happy ending, her “sweetest of homecomings” to her “holy trinity” of mother, father, and child?\u003c/p>\n\u003cp>But the weight of the past, of horrific abuses of familial power, have scarred Ganga beyond repair. “They say that family is the place of safety. But sometimes this is the greatest lie; family is not sanctuary, it is not safety and succor. For some of us, it is the secret wound,” thinks Ganga, as everything comes to a head. “Sooner or later we pay for the woundings of our ancestors. This was the truth for me and for my beautiful bright-faced child.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>\u003c/b>Our impromptu feminist book club started when Emily got two copies of Lena Dunham’s \u003ci>Not That Kind of Girl \u003c/i>for the holidays the year before last. We had all been wanting to read it—we being my oldest BFFs Emily and Jasen, and I—so Emily did the only logical thing she could. She offered to keep both copies and lend me one, with the condition that, when I was finished reading, I would pass it onto Jasen. Deal.\u003c/p>\n\u003cp>As soon as I was done,\u003cb> \u003c/b>without a word to Jasen, I slipped the hardcover book into a padded envelope, along with the sage I’d gotten him for his house, and a fourteen-year-old flier for an art show I’d recently\u003cb> \u003c/b>found, and sent the package off through the mail. (I had been using the flier as a bookmark while I read, and thought Jasen might want to do the same.) Two days later, I got a text that read: “Yay, best mail surprise ever!” Our book club had begun.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag.jpeg\">\u003cimg class=\"alignright wp-image-18821 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-400x400.jpeg\" alt=\"Lena Book & Sage:Jasen's Weekend Bag\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-400x400.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-800x800.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-1440x1440.jpeg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-1920x1920.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-1180x1180.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-960x960.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-75x75.jpeg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>While \u003ci>Not That Kind of Girl\u003c/i> was fresh in our heads, the three of us tried to figure out whom the young British playwright was that Lena wrote about (\u003ca href=\"http://www.standard.co.uk/news/londoners-diary/londoners-diary-the-mystery-of-lena-s-london-girl-is-solved-9755290.html\" target=\"_blank\">it was Polly Stenham\u003c/a>); and we shared the link to the \u003ci>Times\u003c/i> article she referenced about the vegan dinner party she had as a teenager. (\u003ca href=\"http://www.nytimes.com/2003/04/27/style/good-company-a-crunchy-menu-for-a-youthful-crowd.html\">In case you’re curious too.\u003c/a>) When we were all done reading the book, the obvious next question was: What next? We never paused to ask, should we start a book club?; what kind of books would we read?; or, what would the parameters be? It was just, what were we in the mood for, and who wanted it first.\u003c/p>\n\u003cp>Selecting books was effortless. The books practically chose themselves—we had been friends for 20 years, and had a shared taste in almost everything. When Miranda July, Roxane Gay, Mindy Kaling, and Amy Poehler were suggested, it wasn’t a question of should we or shouldn’t we, it was simply, in what order. We also never made the decision to read books predominantly written by feminist women—those were just the kind of books we liked to\u003cb> \u003c/b>read. (I do plan on suggesting Ta-Nehisi Coates’s \u003ci>Between the World and Me\u003c/i> as one of our next reads, though!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It quickly became clear that one of the best things\u003cb> \u003c/b>about having a book club with two of my BFFs, where we passed around one shared copy of each book (a slight deviation from the traditional book club model), was that, even though we lived too far away to see each other regularly, we were constantly in touch now, in a way that we hadn’t been for a while. In between chatting about what we each imagined Cheryl Glickman, the main character in Miranda July’s \u003ci>The First Bad Man\u003c/i>, looked like, and Amy Poehler’s hilarious preface about how hard writing was, Emily would send us pics of her daughter’s first day of school, and the scarves the two had been finger-knitting together.\u003c/p>\n\u003cp>As we’ve entered our thirties, moved to different places, and as some of us have started having children, it’s gotten harder to stay in touch. But it’s been nice to know, that no matter what, we’re at least connected to each other through our shared culture. Even when there’s no time for a lengthy phone catch-up, we can surely squeeze in a text and share a laugh about where in the world the name Kubelko Bondy might have come from (also from Miranda July's \u003ci>The First Bad Man\u003c/i>).\u003c/p>\n\u003cp>And how about the magic wonders of real\u003cb> \u003c/b>mail! When was the last time I’d sent a friend a package via snail mail? Or got a text like this one from Emily?: “Got the Amy Poehler book! This is so fun!!” Plus, with the revolutionary self-service kiosk at the post office (it opens at 6 a.m.!), it’s actually been super easy to mail things. I thought my days of covering manila envelopes in conversation heart stickers were over (and oh, how I’ve missed them!). But thankfully, I was wrong.\u003c/p>\n\u003cp>When I mailed my copy of \u003ci>The First Bad Man \u003c/i>to Jasen, I included a note explaining that the amorphous blob on page sixty-four was some calendula oil I had accidentally spilled. And when I caved and began marking up my favorite passages in \u003ci>Bad Feminist \u003c/i>(I always try to refrain from underlining, at first), I became giddy with the thought that soon my friends would be reading that very book, and would see what I had chosen to annotate.\u003c/p>\n\u003cp>At some point along the way, Emily introduced the podcast, \u003ca href=\"http://callyourgirlfriend.com/\">\u003ci>Call Your Girlfriend\u003c/i>\u003c/a> into the mix, and we all texted endlessly about \u003ca href=\"http://callyourgirlfriend.com/p\">free boobin’\u003c/a>, and how cute we thought the (now sold out) \u003ca href=\"http://www.keneshasneed.com/shop/call-your-girlfriend-tote\">limited-edition tote\u003c/a> was. By the time we were all caught up (it seemed important to start from the beginning), the podcast had just begun a short hiatus. Luckily, KQED Pop’s very own, \u003ci>\u003ca href=\"http://ww2.kqed.org/pop/category/the-cooler/\" target=\"_blank\">The Cooler\u003c/a>\u003c/i>, started up in the meantime, and during the interim, had Aminatou Sow, one half of the amazing feminist duo that makes up \u003cem>CYG\u003c/em>, \u003ca href=\"http://ww2.kqed.org/pop/2015/10/22/7-aminatou-sow-of-call-your-girlfriend/\" target=\"_blank\">as a guest on the show\u003c/a>. And don’t worry, \u003cem>CYG\u003c/em> has been back for a while now!\u003c/p>\n\u003cp>I don’t know the next time Emily and Jasen and I will all be in one place together, but until then, I look forward to texts like this one: “20 pages left and it’s yours!” from Jasen, and, “Did you get to the part where she wears a green corduroy dress with buttons all the way down to the ground?” from Emily, without any context needed.\u003c/p>\n\u003cp>For the next few days, I plan to camp out by my mailbox, waiting for Carrie Brownstein’s recent memoir,\u003ci> Hunger Makes Me a Modern Girl\u003c/i>,\u003ci> \u003c/i>to arrive. Only a few hours ago, Jasen texted to say he’d already finished reading it, after buying it only two days prior. A new text just arrived: “Book’s in the mail!”\u003c/p>\n\u003cp>\u003cstrong>Our list so far, of books we’ve read and are planning to read:\u003c/strong>\u003c/p>\n\u003cp>\u003ci>Not That Kind of Girl \u003c/i>by Lena Dunham\u003c/p>\n\u003cp>\u003ci>The First Bad Man \u003c/i>by Miranda July\u003c/p>\n\u003cp>\u003ci>Bad Feminist \u003c/i>& \u003ci>An Untamed State \u003c/i>by Roxane Gay\u003c/p>\n\u003cp>\u003ci>Yes Please \u003c/i>by Amy Poehler\u003c/p>\n\u003cp>\u003ci>Is Everyone Hanging Out Without Me\u003c/i> & \u003ci>Why Not Me? \u003c/i>by Mindy Kalin\u003ci>g\u003c/i>\u003c/p>\n\u003cp>\u003ci>Hunger Makes Me a Modern Girl \u003c/i>by Carrie Brownstein\u003c/p>\n\u003cp>\u003ci>I’ll Never Write My Memoirs \u003c/i>by Grace Jones\u003c/p>\n\u003cp>\u003ci>Girl in a Band\u003c/i> by Kim Gordon\u003c/p>\n\u003cp>\u003ci>Between the World and Me \u003c/i>by Ta-Nehisi Coates\u003c/p>\n\u003cp>\u003cstrong>And podcasts:\u003c/strong>\u003c/p>\n\u003cp>\u003ci>Call your Girlfriend\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/category/the-cooler/\" target=\"_blank\">The Cooler\u003c/a>\u003c/i> (duh!)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Serial\u003c/i>: Season One & Two\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003c/b>Our impromptu feminist book club started when Emily got two copies of Lena Dunham’s \u003ci>Not That Kind of Girl \u003c/i>for the holidays the year before last. We had all been wanting to read it—we being my oldest BFFs Emily and Jasen, and I—so Emily did the only logical thing she could. She offered to keep both copies and lend me one, with the condition that, when I was finished reading, I would pass it onto Jasen. Deal.\u003c/p>\n\u003cp>As soon as I was done,\u003cb> \u003c/b>without a word to Jasen, I slipped the hardcover book into a padded envelope, along with the sage I’d gotten him for his house, and a fourteen-year-old flier for an art show I’d recently\u003cb> \u003c/b>found, and sent the package off through the mail. (I had been using the flier as a bookmark while I read, and thought Jasen might want to do the same.) Two days later, I got a text that read: “Yay, best mail surprise ever!” Our book club had begun.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag.jpeg\">\u003cimg class=\"alignright wp-image-18821 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-400x400.jpeg\" alt=\"Lena Book & Sage:Jasen's Weekend Bag\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-400x400.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-800x800.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-1440x1440.jpeg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-1920x1920.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-1180x1180.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-960x960.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/12/2015/10/Lena-Book-SageJasens-Weekend-Bag-75x75.jpeg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>While \u003ci>Not That Kind of Girl\u003c/i> was fresh in our heads, the three of us tried to figure out whom the young British playwright was that Lena wrote about (\u003ca href=\"http://www.standard.co.uk/news/londoners-diary/londoners-diary-the-mystery-of-lena-s-london-girl-is-solved-9755290.html\" target=\"_blank\">it was Polly Stenham\u003c/a>); and we shared the link to the \u003ci>Times\u003c/i> article she referenced about the vegan dinner party she had as a teenager. (\u003ca href=\"http://www.nytimes.com/2003/04/27/style/good-company-a-crunchy-menu-for-a-youthful-crowd.html\">In case you’re curious too.\u003c/a>) When we were all done reading the book, the obvious next question was: What next? We never paused to ask, should we start a book club?; what kind of books would we read?; or, what would the parameters be? It was just, what were we in the mood for, and who wanted it first.\u003c/p>\n\u003cp>Selecting books was effortless. The books practically chose themselves—we had been friends for 20 years, and had a shared taste in almost everything. When Miranda July, Roxane Gay, Mindy Kaling, and Amy Poehler were suggested, it wasn’t a question of should we or shouldn’t we, it was simply, in what order. We also never made the decision to read books predominantly written by feminist women—those were just the kind of books we liked to\u003cb> \u003c/b>read. (I do plan on suggesting Ta-Nehisi Coates’s \u003ci>Between the World and Me\u003c/i> as one of our next reads, though!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It quickly became clear that one of the best things\u003cb> \u003c/b>about having a book club with two of my BFFs, where we passed around one shared copy of each book (a slight deviation from the traditional book club model), was that, even though we lived too far away to see each other regularly, we were constantly in touch now, in a way that we hadn’t been for a while. In between chatting about what we each imagined Cheryl Glickman, the main character in Miranda July’s \u003ci>The First Bad Man\u003c/i>, looked like, and Amy Poehler’s hilarious preface about how hard writing was, Emily would send us pics of her daughter’s first day of school, and the scarves the two had been finger-knitting together.\u003c/p>\n\u003cp>As we’ve entered our thirties, moved to different places, and as some of us have started having children, it’s gotten harder to stay in touch. But it’s been nice to know, that no matter what, we’re at least connected to each other through our shared culture. Even when there’s no time for a lengthy phone catch-up, we can surely squeeze in a text and share a laugh about where in the world the name Kubelko Bondy might have come from (also from Miranda July's \u003ci>The First Bad Man\u003c/i>).\u003c/p>\n\u003cp>And how about the magic wonders of real\u003cb> \u003c/b>mail! When was the last time I’d sent a friend a package via snail mail? Or got a text like this one from Emily?: “Got the Amy Poehler book! This is so fun!!” Plus, with the revolutionary self-service kiosk at the post office (it opens at 6 a.m.!), it’s actually been super easy to mail things. I thought my days of covering manila envelopes in conversation heart stickers were over (and oh, how I’ve missed them!). But thankfully, I was wrong.\u003c/p>\n\u003cp>When I mailed my copy of \u003ci>The First Bad Man \u003c/i>to Jasen, I included a note explaining that the amorphous blob on page sixty-four was some calendula oil I had accidentally spilled. And when I caved and began marking up my favorite passages in \u003ci>Bad Feminist \u003c/i>(I always try to refrain from underlining, at first), I became giddy with the thought that soon my friends would be reading that very book, and would see what I had chosen to annotate.\u003c/p>\n\u003cp>At some point along the way, Emily introduced the podcast, \u003ca href=\"http://callyourgirlfriend.com/\">\u003ci>Call Your Girlfriend\u003c/i>\u003c/a> into the mix, and we all texted endlessly about \u003ca href=\"http://callyourgirlfriend.com/p\">free boobin’\u003c/a>, and how cute we thought the (now sold out) \u003ca href=\"http://www.keneshasneed.com/shop/call-your-girlfriend-tote\">limited-edition tote\u003c/a> was. By the time we were all caught up (it seemed important to start from the beginning), the podcast had just begun a short hiatus. Luckily, KQED Pop’s very own, \u003ci>\u003ca href=\"http://ww2.kqed.org/pop/category/the-cooler/\" target=\"_blank\">The Cooler\u003c/a>\u003c/i>, started up in the meantime, and during the interim, had Aminatou Sow, one half of the amazing feminist duo that makes up \u003cem>CYG\u003c/em>, \u003ca href=\"http://ww2.kqed.org/pop/2015/10/22/7-aminatou-sow-of-call-your-girlfriend/\" target=\"_blank\">as a guest on the show\u003c/a>. And don’t worry, \u003cem>CYG\u003c/em> has been back for a while now!\u003c/p>\n\u003cp>I don’t know the next time Emily and Jasen and I will all be in one place together, but until then, I look forward to texts like this one: “20 pages left and it’s yours!” from Jasen, and, “Did you get to the part where she wears a green corduroy dress with buttons all the way down to the ground?” from Emily, without any context needed.\u003c/p>\n\u003cp>For the next few days, I plan to camp out by my mailbox, waiting for Carrie Brownstein’s recent memoir,\u003ci> Hunger Makes Me a Modern Girl\u003c/i>,\u003ci> \u003c/i>to arrive. Only a few hours ago, Jasen texted to say he’d already finished reading it, after buying it only two days prior. A new text just arrived: “Book’s in the mail!”\u003c/p>\n\u003cp>\u003cstrong>Our list so far, of books we’ve read and are planning to read:\u003c/strong>\u003c/p>\n\u003cp>\u003ci>Not That Kind of Girl \u003c/i>by Lena Dunham\u003c/p>\n\u003cp>\u003ci>The First Bad Man \u003c/i>by Miranda July\u003c/p>\n\u003cp>\u003ci>Bad Feminist \u003c/i>& \u003ci>An Untamed State \u003c/i>by Roxane Gay\u003c/p>\n\u003cp>\u003ci>Yes Please \u003c/i>by Amy Poehler\u003c/p>\n\u003cp>\u003ci>Is Everyone Hanging Out Without Me\u003c/i> & \u003ci>Why Not Me? \u003c/i>by Mindy Kalin\u003ci>g\u003c/i>\u003c/p>\n\u003cp>\u003ci>Hunger Makes Me a Modern Girl \u003c/i>by Carrie Brownstein\u003c/p>\n\u003cp>\u003ci>I’ll Never Write My Memoirs \u003c/i>by Grace Jones\u003c/p>\n\u003cp>\u003ci>Girl in a Band\u003c/i> by Kim Gordon\u003c/p>\n\u003cp>\u003ci>Between the World and Me \u003c/i>by Ta-Nehisi Coates\u003c/p>\n\u003cp>\u003cstrong>And podcasts:\u003c/strong>\u003c/p>\n\u003cp>\u003ci>Call your Girlfriend\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/category/the-cooler/\" target=\"_blank\">The Cooler\u003c/a>\u003c/i> (duh!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The filmmakers behind a documentary on science fiction author Ursula K. Le Guin had plenty to celebrate Wednesday as \u003ca href=\"https://www.kickstarter.com/projects/arwencurry/worlds-of-ursula-k-le-guin\" target=\"_blank\" rel=\"noopener\">their Kickstarter campaign\u003c/a> surpassed $200,000.\u003c/p>\n\u003cp>With 50 hours left, the campaign reached its final goal — the remaining amount of the film’s $800,000 budget — and the filmmakers made this announcement on their Facebook page:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/post.php?href=https%3A%2F%2Fwww.facebook.com%2FWorldsofUKL%2Fposts%2F973049319414828&width=500\" width=\"500\" height=\"596\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The film concentrates on the work of Berkeley native Le Guin, creator of the internationally-renowned \u003ci>Earthsea\u003c/i> fantasy series and a \u003ca href=\"https://en.wikipedia.org/wiki/Library_of_Congress_Living_Legend\" target=\"_blank\" rel=\"noopener\">Library of Congress Living Legend.\u003c/a> Director Arwen Curry left her job as a KQED Science producer to make the film about a writer whose presence in her life was so ubiquitous, she described Le Guin as like “being an auntie.”\u003c/p>\n\u003cp>“American fiction was not the same after her,” Curry says. “She opened doors between mainstream literature, and genres like science fiction and fantasy. Before those genres were not necessarily maligned but looked down upon as being immature. After Ursula Le Guin, it’s hard to say that those aren’t areas where important thinking is taking place.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After filming hours of interviews with Le Guin, Curry applied for a grant from the National Endowment of the Humanities and was awarded $600,000, the majority of film’s projected budget. But there was a catch: in order to receive the funds, Curry and her crew had to raise the remaining $200,000 on their own. \u003c/p>\n\u003cp>Thinking that they would have to apply for other grants, the crew initially set their Kickstarter goal at $80,000. They raised that amount in two days, so they pushed to raise the full $200,000, which they did with a little more than two days left in the campaign.\u003c/p>\n\u003cp>Curry said that the remaining funds will be used for finishing costs such as editing, licensing archival material, and bankrolling the film’s musical score.\u003c/p>\n\u003cp>The campaign has received funding and plugs from notable authors such as Cheryl Strayed, Michael Chabon and Neil Gaiman.\u003c/p>\n\u003cp>“Ursula Le Guin may be the last great SF and Fantasy writer of her generation who is still writing as well and as wisely as she did in the Sixties,” Gaiman wrote, adding that he had been supporting the film’s campaign from the beginning. \u003c/p>\n\u003cp>Curry says the outpouring of support for the film has been both overwhelming and encouraging for a project she envisioned more than seven years ago. It also made it known that fans of Le Guin are dedicated, and when asked why that is, Curry says that after hours of interviews with them, the answer is clear.\u003c/p>\n\u003cp>“She teaches us how to live well.” \u003c/p>\n\u003cp>\u003ci>To learn more about the documentary, watch the video below:\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AqH3nqXqlgs\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The filmmakers behind a documentary on science fiction author Ursula K. Le Guin had plenty to celebrate Wednesday as \u003ca href=\"https://www.kickstarter.com/projects/arwencurry/worlds-of-ursula-k-le-guin\" target=\"_blank\" rel=\"noopener\">their Kickstarter campaign\u003c/a> surpassed $200,000.\u003c/p>\n\u003cp>With 50 hours left, the campaign reached its final goal — the remaining amount of the film’s $800,000 budget — and the filmmakers made this announcement on their Facebook page:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/post.php?href=https%3A%2F%2Fwww.facebook.com%2FWorldsofUKL%2Fposts%2F973049319414828&width=500\" width=\"500\" height=\"596\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The film concentrates on the work of Berkeley native Le Guin, creator of the internationally-renowned \u003ci>Earthsea\u003c/i> fantasy series and a \u003ca href=\"https://en.wikipedia.org/wiki/Library_of_Congress_Living_Legend\" target=\"_blank\" rel=\"noopener\">Library of Congress Living Legend.\u003c/a> Director Arwen Curry left her job as a KQED Science producer to make the film about a writer whose presence in her life was so ubiquitous, she described Le Guin as like “being an auntie.”\u003c/p>\n\u003cp>“American fiction was not the same after her,” Curry says. “She opened doors between mainstream literature, and genres like science fiction and fantasy. Before those genres were not necessarily maligned but looked down upon as being immature. After Ursula Le Guin, it’s hard to say that those aren’t areas where important thinking is taking place.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After filming hours of interviews with Le Guin, Curry applied for a grant from the National Endowment of the Humanities and was awarded $600,000, the majority of film’s projected budget. But there was a catch: in order to receive the funds, Curry and her crew had to raise the remaining $200,000 on their own. \u003c/p>\n\u003cp>Thinking that they would have to apply for other grants, the crew initially set their Kickstarter goal at $80,000. They raised that amount in two days, so they pushed to raise the full $200,000, which they did with a little more than two days left in the campaign.\u003c/p>\n\u003cp>Curry said that the remaining funds will be used for finishing costs such as editing, licensing archival material, and bankrolling the film’s musical score.\u003c/p>\n\u003cp>The campaign has received funding and plugs from notable authors such as Cheryl Strayed, Michael Chabon and Neil Gaiman.\u003c/p>\n\u003cp>“Ursula Le Guin may be the last great SF and Fantasy writer of her generation who is still writing as well and as wisely as she did in the Sixties,” Gaiman wrote, adding that he had been supporting the film’s campaign from the beginning. \u003c/p>\n\u003cp>Curry says the outpouring of support for the film has been both overwhelming and encouraging for a project she envisioned more than seven years ago. It also made it known that fans of Le Guin are dedicated, and when asked why that is, Curry says that after hours of interviews with them, the answer is clear.\u003c/p>\n\u003cp>“She teaches us how to live well.” \u003c/p>\n\u003cp>\u003ci>To learn more about the documentary, watch the video below:\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AqH3nqXqlgs'\n title='//www.youtube.com/embed/AqH3nqXqlgs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"disqusTitle": "Oops! Male Crashes TIME's List of Most-Read Female Writers",
"title": "Oops! Male Crashes TIME's List of Most-Read Female Writers",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>We all make mistakes, some more embarrassing than others. All you can do is hope your faux pas doesn't happen on the Internet where a single screenshot can haunt your Google results for all eternity.\u003c/p>\n\u003cp>Unfortunately, that hope is kaput for a certain \u003cem>TIME\u003c/em> contributor, who decided to put together a list of the most-read female writers in college classes. So far, so good! The blogger dutifully put together 100 names of women; well, actually just 99 because, despite the feminine-sounding name, Evelyn Waugh was a dude with a penis. Oops!\u003c/p>\n\u003cp>https://twitter.com/jeffchu/status/702872253256433664\u003c/p>\n\u003cp>\u003cem>TIME\u003c/em> eventually realized the error and had to update the post with this tail-between-the-legs correction:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/Screen-Shot-2016-02-25-at-11.45.12-AM.png\" rel=\"attachment wp-att-20737\">\u003cimg class=\"aligncenter size-full wp-image-20737\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/Screen-Shot-2016-02-25-at-11.45.12-AM.png\" alt=\"Screen Shot 2016-02-25 at 11.45.12 AM\" width=\"632\" height=\"71\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/Screen-Shot-2016-02-25-at-11.45.12-AM.png 632w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/Screen-Shot-2016-02-25-at-11.45.12-AM-400x45.png 400w\" sizes=\"(max-width: 632px) 100vw, 632px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So for those of you who weren't lit majors (hey, fellow English majors! Turns out our degrees \u003cem>are\u003c/em> useful!), here are some writers who used opposite sex pseudonyms:\u003c/p>\n\u003cp>Charlotte, Emily and Anne Brontë first published their novels under the male pseudonyms Currer, Ellis and Acton Bell.\u003c/p>\n\u003cp>Louisa May Alcott of \u003cem>Little Women \u003c/em>fame used the name A.M. Barnard for gothic thrillers that might have been considered too \"unladylike\" for the times.\u003c/p>\n\u003cp>Mary Ann Evans' nom de plume was George Eliot to avoid critics stereotyping her work based on her gender.\u003c/p>\n\u003cp>\u003cem>Out of Africa\u003c/em> writer Karen Blixen went by Isak Dinesen.\u003c/p>\n\u003cp>And J.K. Rowling was encouraged to use her initials, when publishing the \u003cem>Harry Potter\u003c/em> novels, so her femininity wouldn't deter the target audience: young boys. Years later, she used the name Robert Galbraith to retrieve some of her lost anonymity and have the liberty to experiment without all the expectations and attention.\u003c/p>\n\u003cp>You might be wondering why I haven't mentioned any notable male writers masquerading as women. Well, that's because that isn't a thing. Men don't have much to gain from assuming a female identity in a world that chronically devalues women and scrutinizes them more harshly than the opposite sex (see: \u003ca href=\"http://ww2.kqed.org/pop/2015/07/29/why-naomi-wolf-is-like-totally-wrong-on-vocal-fry/\" target=\"_blank\">vocal fry\u003c/a>).\u003c/p>\n\u003cp>Too real of a note to end on? Cleanse your palate from that bitter tea with this fun, light and poignant moment from \u003cem>Clueless\u003c/em>:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/635716495507613209552846246_billie-holiday-part-1.gif\" rel=\"attachment wp-att-20735\">\u003cimg class=\"aligncenter size-full wp-image-20735\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/635716495507613209552846246_billie-holiday-part-1.gif\" alt=\"billie holiday clueless gif 2\" width=\"245\" height=\"245\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/635716495507613209552846246_billie-holiday-part-1.gif 245w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/635716495507613209552846246_billie-holiday-part-1-32x32.gif 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/635716495507613209552846246_billie-holiday-part-1-64x64.gif 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/635716495507613209552846246_billie-holiday-part-1-96x96.gif 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/635716495507613209552846246_billie-holiday-part-1-128x128.gif 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/635716495507613209552846246_billie-holiday-part-1-75x75.gif 75w\" sizes=\"(max-width: 245px) 100vw, 245px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/6357164956315554601833745569_billie-holiday-part2-.gif\" rel=\"attachment wp-att-20734\">\u003cimg class=\"aligncenter size-full wp-image-20734\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/6357164956315554601833745569_billie-holiday-part2-.gif\" alt=\"billie holiday clueless gif\" width=\"245\" height=\"245\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/6357164956315554601833745569_billie-holiday-part2-.gif 245w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/6357164956315554601833745569_billie-holiday-part2--32x32.gif 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/6357164956315554601833745569_billie-holiday-part2--64x64.gif 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/6357164956315554601833745569_billie-holiday-part2--96x96.gif 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/6357164956315554601833745569_billie-holiday-part2--128x128.gif 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/6357164956315554601833745569_billie-holiday-part2--75x75.gif 75w\" sizes=\"(max-width: 245px) 100vw, 245px\">\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So for those of you who weren't lit majors (hey, fellow English majors! Turns out our degrees \u003cem>are\u003c/em> useful!), here are some writers who used opposite sex pseudonyms:\u003c/p>\n\u003cp>Charlotte, Emily and Anne Brontë first published their novels under the male pseudonyms Currer, Ellis and Acton Bell.\u003c/p>\n\u003cp>Louisa May Alcott of \u003cem>Little Women \u003c/em>fame used the name A.M. Barnard for gothic thrillers that might have been considered too \"unladylike\" for the times.\u003c/p>\n\u003cp>Mary Ann Evans' nom de plume was George Eliot to avoid critics stereotyping her work based on her gender.\u003c/p>\n\u003cp>\u003cem>Out of Africa\u003c/em> writer Karen Blixen went by Isak Dinesen.\u003c/p>\n\u003cp>And J.K. Rowling was encouraged to use her initials, when publishing the \u003cem>Harry Potter\u003c/em> novels, so her femininity wouldn't deter the target audience: young boys. Years later, she used the name Robert Galbraith to retrieve some of her lost anonymity and have the liberty to experiment without all the expectations and attention.\u003c/p>\n\u003cp>You might be wondering why I haven't mentioned any notable male writers masquerading as women. Well, that's because that isn't a thing. Men don't have much to gain from assuming a female identity in a world that chronically devalues women and scrutinizes them more harshly than the opposite sex (see: \u003ca href=\"http://ww2.kqed.org/pop/2015/07/29/why-naomi-wolf-is-like-totally-wrong-on-vocal-fry/\" target=\"_blank\">vocal fry\u003c/a>).\u003c/p>\n\u003cp>Too real of a note to end on? Cleanse your palate from that bitter tea with this fun, light and poignant moment from \u003cem>Clueless\u003c/em>:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/635716495507613209552846246_billie-holiday-part-1.gif\" rel=\"attachment wp-att-20735\">\u003cimg class=\"aligncenter size-full wp-image-20735\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/635716495507613209552846246_billie-holiday-part-1.gif\" alt=\"billie holiday clueless gif 2\" width=\"245\" height=\"245\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/635716495507613209552846246_billie-holiday-part-1.gif 245w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/635716495507613209552846246_billie-holiday-part-1-32x32.gif 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/635716495507613209552846246_billie-holiday-part-1-64x64.gif 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/635716495507613209552846246_billie-holiday-part-1-96x96.gif 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/635716495507613209552846246_billie-holiday-part-1-128x128.gif 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/635716495507613209552846246_billie-holiday-part-1-75x75.gif 75w\" sizes=\"(max-width: 245px) 100vw, 245px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/6357164956315554601833745569_billie-holiday-part2-.gif\" rel=\"attachment wp-att-20734\">\u003cimg class=\"aligncenter size-full wp-image-20734\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/6357164956315554601833745569_billie-holiday-part2-.gif\" alt=\"billie holiday clueless gif\" width=\"245\" height=\"245\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/6357164956315554601833745569_billie-holiday-part2-.gif 245w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/6357164956315554601833745569_billie-holiday-part2--32x32.gif 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/6357164956315554601833745569_billie-holiday-part2--64x64.gif 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/6357164956315554601833745569_billie-holiday-part2--96x96.gif 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/6357164956315554601833745569_billie-holiday-part2--128x128.gif 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/6357164956315554601833745569_billie-holiday-part2--75x75.gif 75w\" sizes=\"(max-width: 245px) 100vw, 245px\">\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-trip-to-the-up-bay-in-search-of-vallejos-burgeoning-art-community",
"title": "A Trip to the 'Up-Bay' in Search of Vallejo's Burgeoning Art Community",
"publishDate": 1456156809,
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"headTitle": "A Trip to the ‘Up-Bay’ in Search of Vallejo’s Burgeoning Art Community | KQED",
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"content": "\u003cp>It started as a day trip and ended with searches on Zillow. We — visual arts editor Sarah Hotchkiss and KQED Arts contributor Lakshmi Sarah — had lofty goals for our sojourn to Vallejo. We would take in the local flavor, visit arts organizations, meet artists, tour some studios, eat lunch and be back on the road by 3pm.\u003c/p>\n\u003cp>We had no idea what we were getting into.\u003c/p>\n\u003cp>The impetus for our trip was a deluge of messages in response to our \u003ca href=\"http://ww2.kqed.org/arts/2015/10/20/new-map-charts-changing-landscape-for-arts-in-bay-area/\">Oct. 2015 map\u003c/a> of recently closed, relocated or opened arts spaces in the Bay Area. “I will say, from my experience as well as the experiences of other artists that I know and work with, Vallejo is the burgeoning art community you are looking for,” wrote Cate Muzaffar. “We are having an art explosion in Vallejo!” wrote Sherry Tobin.\u003c/p>\n\u003cp>\u003cem>Well, alright then\u003c/em>, we said, \u003cem>if the community we didn’t know we were looking for is just 30 miles away, let’s go check out this explosion\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11174529\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174529\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Artiszen1200.jpg\" alt=\"A view of ArtisZen over an art car.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of ArtisZen over an art car. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Vallejo: City of Opportunity\u003c/h3>\n\u003cp>Vallejo might be best known for declaring bankruptcy in 2008. Until Stockton followed suit in 2012, Vallejo was the largest city in California to do so. The stigma from this badge of dishonor is still tangible, but the city is making strides to achieve economic stability — even growth — four years after a federal judge released them from their Chapter 9 status.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, the city’s population hovers around 120,000. According to the 2010 census, the demographics break down to 25 percent white, 22.1 percent Black, 22.6 percent Hispanic or Latino, and 24.9 percent Asian. The largest employers in Vallejo are Kaiser Permanente, Six Flags Discovery Kingdom (yes, the theme park) and the Vallejo Unified School District.\u003c/p>\n\u003cp>But we drove there to talk to a different subset of the community — the artists, the makers, the publishers, the experimental concert organizers — those able to hold court in their garage, community arts center or decommissioned naval base in the middle of a Thursday.\u003c/p>\n\u003cp>We wanted to know if Vallejo offers a viable alternative to eking out art practices in cramped (yet bustling) cities with astronomical rents. And this wasn’t just a personal quest. In September 2015, when the San Francisco Arts Commission \u003ca href=\"http://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">surveyed individual artists\u003c/a> about their space needs, 28 percent of respondents had been or were being displaced from their homes, 26 percent from their studios and 23 percent from both. Vallejo was a litmus test: Can an arts community grow and flourish in a remote city still recovering from bankruptcy?\u003c/p>\n\u003cfigure id=\"attachment_10962213\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10962213\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT.jpg\" alt=\"Example slide from SFAC report\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Example slide from SFAC report \u003ccite>(Courtesy: SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The numbers were promising. According to the housing site \u003ca href=\"https://www.zumper.com/blog/2016/01/zumper-national-rent-report-january-2016/\" target=\"_blank\" rel=\"noopener\">Zumper\u003c/a>, average rent for a one-bedroom apartment in Vallejo is $1,100; in Oakland that jumps to $2,210 and in San Francisco, it’s a cool $3,490. In the same SFAC survey, artists pay an average of $1.75 per square foot for their studio spaces. In Vallejo’s Coal Shed Studios, one of the city’s largest complexes of artists’ working spaces, the average rate is $1 per square foot, a price that was set 10 years ago.\u003c/p>\n\u003cp>With all these figures rumbling in our heads, it didn’t take as long as we expected to drive up I-80 from Oakland, across the Carquinez Bridge and into downtown Vallejo. “It’s so close!” we said to each other with surprise.\u003c/p>\n\u003cfigure id=\"attachment_11174534\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SuperClassyB1200.jpg\" alt=\"Andy Rottner displays 'S, T, Steketee,' a book with art by Liz Steketee.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andy Rottner displays ‘S, T, Steketee,’ a book with art by Liz Steketee. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A Super Classy Garage\u003c/h3>\n\u003cp>Trees making the shift from green to red, orange and yellow lined the streets. Winding up a hill on the east side of town, we arrived at the home of \u003ca href=\"http://www.superclassypublishing.com/\" target=\"_blank\" rel=\"noopener\">Super Classy Publishing\u003c/a>, a nondescript ranch style house on a suburban street that could have been anywhere in the Bay Area.\u003c/p>\n\u003cp>It is also the home of Andy and Katie Rottner, who have turned their garage (“Who needs to park their car in their garage?” says Katie) into a small publishing operation. The couple moved to Vallejo from Oakland in 2013, finding a house with plenty of space for both their young family and their studio, not to mention sweeping views of the city and San Pablo Bay. Making meticulous cloth-covered boxes and limited edition artist books — many one-of-a-kind — the Rottners carve out a supplemental income doing what they love.\u003c/p>\n\u003cfigure id=\"attachment_11174533\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SuperClassy1200.jpg\" alt=\"Super Classy Publishing book 'I'm Over Here Now,' with art by Danny White.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Super Classy Publishing book ‘I’m Over Here Now,’ with art by Danny White. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Katie works from home as a marketing copywriter, Andy teaches bookbinding at the San Francisco Art Institute and San Francisco Center for the Book, commuting several days a week into San Francisco. He often takes the ferry, which he deems “very civilized” in comparison to the “very grim” stop-and-go highway traffic during commuting hours.\u003c/p>\n\u003cp>Relative newcomers to the city, the Rottners also feel a bit disconnected from the local arts scene. Their clients come mostly from San Francisco and the East Bay. “I wish we were better connected to the day-to-day art world in Vallejo,” said Andy. “I think the art world here is super grassroots. People are very prideful about it, but there’s no central forum.”\u003c/p>\n\u003cp>“Well the Hub is sort of that,” said Katie.\u003c/p>\n\u003cp>Speak of the devil, we said — we’re going there next.\u003c/p>\n\u003cfigure id=\"attachment_11174535\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174535\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200.jpg\" alt=\"Vallejo Art Window by Brad Isdrab.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Vallejo Art Window by Brad Isdrab. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hubbub at the Hub\u003c/h3>\n\u003cp>At the corner of Georgia and Marin Streets in downtown Vallejo stands \u003ca href=\"http://oddfellowsvallejo.org/\" target=\"_blank\" rel=\"noopener\">Odd Fellows San Pablo Lodge #43\u003c/a>, home to the city’s longstanding chapter of the community-minded social club.\u003c/p>\n\u003cp>“Since the 1990s, downtown Vallejo has slowly turned into a near-ghost town, with empty storefronts lining what was once the booming main street of Vallejo,” the lodge wrote on its Facebook page in August 2013. “We need to bring business and life back to downtown.” With that, the order’s ground-floor retail space transformed into \u003ca href=\"http://www.thehubvallejo.com/Home_-_The_Hub_Vallejo.html\" target=\"_blank\" rel=\"noopener\">the Hub\u003c/a>, a multi-purpose space hosting workshops and events, selling artists’ wares and providing a gathering space for arts enthusiasts of all ages.\u003c/p>\n\u003cp>When we arrived, the Hub was bustling. Easily two dozen people roamed through the displays of art, crafted objects and jewelry. It wasn’t just a crowd of casual shoppers; everyone clearly knew each other. Realization dawned: They were all here to meet us.\u003c/p>\n\u003cfigure id=\"attachment_11174536\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174536\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/IMG_7014-e1450490596273.jpg\" alt=\"Utility box art in downtown Vallejo.\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_7014-e1450490596273.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_7014-e1450490596273-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Utility box art in downtown Vallejo. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Word had spread through Ric Duran, a self-described “volunteer junkie” active with a wide variety of Vallejo organizations. Duran told us he made more friends in six months of living in Vallejo than he did in six years of life in San Francisco. The crowd he’d gathered was tangible proof of that.\u003c/p>\n\u003cp>Over the next two hours we talked to everyone — from the “oldest living Vallejo artist” to the president of the Vallejo Symphony. If the day’s conversation floated into a word cloud above our heads, “community,” “belonging,” “great energy” and “momentum” emerged as the clear favorites.\u003c/p>\n\u003cp>Vallejo resident Karen Sims spoke of the range of community-based initiatives, saying the artistic opportunities in the city give people “vibrancy and hope.” Erin Bakke, artist and founder of \u003ca href=\"http://vallejoartwindows.com/\" target=\"_blank\" rel=\"noopener\">Vallejo Art Windows\u003c/a>, a project that puts local artists’ installations in vacant storefronts, said, “You can feel it, there’s a vibe… it’s very energizing.”\u003c/p>\n\u003cp>The superlatives themselves gained momentum. Chris Viridian, one of the Hub’s co-founders, moved to Vallejo after the city filed for bankruptcy. At the time, his monthly mortgage cost less than what he had been paying in rent elsewhere. “A lot of artists moved in because it was cheap,” he said. “Right now, what we have is very reminiscent of what we had in Paris in the 1930s,” he said. “It is always the artists that turn the communities around.”\u003c/p>\n\u003cp>The Rottners touched on this very subject earlier in the day, but with a hint more caution: “I think the issue is, you make Vallejo better, but you don’t want to change its essential nature. Part of what’s great about it is how it is now,” said Andy. “I think that’s something a lot of places in the Bay Area are facing. How do you improve things?”\u003c/p>\n\u003cp>The Hub and people gathered within it seem to focus their energies on the downtown area, in a grassroots form of \u003ca href=\"https://www.arts.gov/sites/default/files/CreativePlacemaking-Paper.pdf\" target=\"_blank\" rel=\"noopener\">creative placemaking\u003c/a>. The second Friday of every month, the \u003ca href=\"http://www.vallejoartwalk.com/vallejoartwalk/home.html\" target=\"_blank\" rel=\"noopener\">Vallejo Art Walk\u003c/a> brings artists, food vendors, musicians and locals to the downtown blocks, joining forces with 31 nearby businesses. Across the street from the Hub, the folks at Artiszen — not to be confused with having anything to do with Zen Buddhism — talked to us about their planned summer arts classes for Vallejo children. The city’s annual Mad Hatter Holiday Festival gathers flame-spouting art cars, the local California Maritime Academy’s marching band and (this year) Storm Troopers in a parade down Georgia Street, ending with a tree-lighting festival.\u003c/p>\n\u003cp>Such gathering spots and events, instituted by a local arts community of mostly transplants, have entwined themselves in the very fabric of the city. But in the push to revitalize downtown Vallejo through the arts scene, is there still room for projects that don’t produce objects or fit under the umbrella of “community arts”? What does it mean to live in Vallejo if you don’t make large-scale Burning Man sculptures, steampunk accoutrements or window displays?\u003c/p>\n\u003cp>As we left the Hub, we set out to answer that very question.\u003c/p>\n\u003cfigure id=\"attachment_11174531\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174531\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ReSoundA1200.jpg\" alt=\"An old storage building on Mare Island, where Re:Sound concerts take place.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An old storage building on Mare Island, where Re:Sound concerts take place. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Reverb with Re:Sound\u003c/h3>\n\u003cp>After a hurried but delicious lunch at Gracie’s BBQ, we journeyed across the Napa River to Mare Island. The Mare Island Naval Shipyard, a major element of the city’s economic engine throughout its history, closed in 1996, leaving behind rusting equipment, acres of empty buildings and the loss of 5,800 jobs. Today the strip of land is home to (among others) Touro University, a golf club, a prefabricated home company and the \u003ca href=\"http://www.mareislandpreserve.org/MareIslandPreserve/Homepage.html\" target=\"_blank\" rel=\"noopener\">Mare Island Shoreline Heritage Preserve\u003c/a>, aka the location of an experimental sound concert series called \u003ca href=\"http://www.re-sound.net/\" target=\"_blank\" rel=\"noopener\">Re:Sound\u003c/a>.\u003c/p>\n\u003cp>Sound artist and special education teacher Jen Boyd greeted us at what looked like the end of Railroad Avenue, unlocking a chain-link gate to lead us deeper into the preserve, fennel surrounding us pungently on all sides.\u003c/p>\n\u003cp>Re:Sound is just one year old, but Boyd says the response has been extremely positive. Her two- to five-hour-long concerts bring sound artist luminaries into a cavernous concrete building formerly used by the Navy to store munitions. “Everyone I bring here is like, ‘I didn’t know this existed,’” she says.\u003c/p>\n\u003cfigure id=\"attachment_11174530\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174530\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ReSound1200.jpg\" alt=\"Jen Boyd against a background of wild fennel.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jen Boyd against a background of wild fennel. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her voice echoes for what feels like forever — the building creates a six-second tail of reverberation. “When artists play here, their pieces are driven by the space,” she says. Each concert draws an audience of about 120 people from all over Northern California to what Boyd likes to a call “a forgotten space.”\u003c/p>\n\u003cp>For Boyd, who relocated from Oakland to buy a home in Vallejo in 2010, Re:Sound is a labor of love. She provides the generators, porta-potties and promotional materials for each concert, and helps the performers out as much as possible with travel costs. “I wanted to bring something to Vallejo,” she says. “I play a lot in San Francisco and Los Angeles and I just wanted to bring something here.”\u003c/p>\n\u003cp>The next Re:Sound concert will be a two-day affair on Feb. 20 and 21, scheduled to coincide with the \u003ca href=\"http://www.sfbayflywayfestival.com/San_Francisco_Bay_Flyway_Festival/San_Francisco_Bay_Flyway_Festival.html\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Flyway Festival\u003c/a>, a celebration of aviary wildlife at the peak of their migration. Distancing herself from certain activities at the Hub (fire-breathing sculpture, for one), she underlines the importance of listening to nature — in both the Re:Sound concerts and her own work.\u003c/p>\n\u003cp>Does Boyd, like everyone else we met, think we, too, should move to Vallejo? Yes, but with a caveat: “I think people should come so we can start more diverse stuff.”\u003c/p>\n\u003cfigure id=\"attachment_11174532\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174532\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ReSoundB1200.jpg\" alt=\"The interior, resounding space of the Re:Sound building.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The interior, resounding space of the Re:Sound building. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>What We Didn’t See\u003c/h3>\n\u003cp>It was time to leave the “Up-Bay.” (We don’t know if this is a real thing that people say, we only heard it once.) But surrounded by eight-foot-tall fennel plants, the car wouldn’t start. Would we be trapped on Mare Island forever? Would that be so bad?\u003c/p>\n\u003cp>Partly due to our prolonged stay at the Hub, and partly due to our own underestimation of what Vallejo had to offer, we ran out of time to accomplish our day trip’s lofty goals. We didn’t see the restored interior of the \u003ca href=\"http://empresstheatre.org/\" target=\"_blank\" rel=\"noopener\">Empress Theatre\u003c/a>, a 471-seat music and performance venue downtown. We didn’t have time to visit the \u003ca href=\"http://coalshedstudios.com/\" target=\"_blank\" rel=\"noopener\">Coal Shed Studios\u003c/a> on Mare Island, where 18 artists pursue their practices. We did meet Henry Beecher, chair of the \u003ca href=\"http://www.mccunecollection.org/\" target=\"_blank\" rel=\"noopener\">McCune Rare Book and Art Collection\u003c/a>, but we couldn’t browse the collection itself. We ate BBQ chicken, but we didn’t sample any recommended taco trucks. We didn’t even catch a glimpse of the ferry to San Francisco, let alone sample the \u003ca href=\"http://www.mareislandbrewingco.com/\" target=\"_blank\" rel=\"noopener\">Mare Island Brewing Company’s Taproom\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The car finally started and we began our reverse commute back to the East Bay. With rental rates in the Bay Area showing no sign of decline, perhaps Vallejo \u003ci>is\u003c/i> the burgeoning art community you’re looking for. We barely scratched the surface. And \u003ca href=\"http://www.zillow.com/vallejo-ca/\" target=\"_blank\" rel=\"noopener\">Zillow’s looking good\u003c/a>, at least to Lakshmi.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It started as a day trip and ended with searches on Zillow. We — visual arts editor Sarah Hotchkiss and KQED Arts contributor Lakshmi Sarah — had lofty goals for our sojourn to Vallejo. We would take in the local flavor, visit arts organizations, meet artists, tour some studios, eat lunch and be back on the road by 3pm.\u003c/p>\n\u003cp>We had no idea what we were getting into.\u003c/p>\n\u003cp>The impetus for our trip was a deluge of messages in response to our \u003ca href=\"http://ww2.kqed.org/arts/2015/10/20/new-map-charts-changing-landscape-for-arts-in-bay-area/\">Oct. 2015 map\u003c/a> of recently closed, relocated or opened arts spaces in the Bay Area. “I will say, from my experience as well as the experiences of other artists that I know and work with, Vallejo is the burgeoning art community you are looking for,” wrote Cate Muzaffar. “We are having an art explosion in Vallejo!” wrote Sherry Tobin.\u003c/p>\n\u003cp>\u003cem>Well, alright then\u003c/em>, we said, \u003cem>if the community we didn’t know we were looking for is just 30 miles away, let’s go check out this explosion\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11174529\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174529\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Artiszen1200.jpg\" alt=\"A view of ArtisZen over an art car.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Artiszen1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of ArtisZen over an art car. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Vallejo: City of Opportunity\u003c/h3>\n\u003cp>Vallejo might be best known for declaring bankruptcy in 2008. Until Stockton followed suit in 2012, Vallejo was the largest city in California to do so. The stigma from this badge of dishonor is still tangible, but the city is making strides to achieve economic stability — even growth — four years after a federal judge released them from their Chapter 9 status.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, the city’s population hovers around 120,000. According to the 2010 census, the demographics break down to 25 percent white, 22.1 percent Black, 22.6 percent Hispanic or Latino, and 24.9 percent Asian. The largest employers in Vallejo are Kaiser Permanente, Six Flags Discovery Kingdom (yes, the theme park) and the Vallejo Unified School District.\u003c/p>\n\u003cp>But we drove there to talk to a different subset of the community — the artists, the makers, the publishers, the experimental concert organizers — those able to hold court in their garage, community arts center or decommissioned naval base in the middle of a Thursday.\u003c/p>\n\u003cp>We wanted to know if Vallejo offers a viable alternative to eking out art practices in cramped (yet bustling) cities with astronomical rents. And this wasn’t just a personal quest. In September 2015, when the San Francisco Arts Commission \u003ca href=\"http://ww2.kqed.org/arts/2015/09/16/survey-confirms-market-forces-pushing-artists-out-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">surveyed individual artists\u003c/a> about their space needs, 28 percent of respondents had been or were being displaced from their homes, 26 percent from their studios and 23 percent from both. Vallejo was a litmus test: Can an arts community grow and flourish in a remote city still recovering from bankruptcy?\u003c/p>\n\u003cfigure id=\"attachment_10962213\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10962213\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT.jpg\" alt=\"Example slide from SFAC report\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Individual-Artists-Space-Need-Analysis_DISPLACEMENT-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Example slide from SFAC report \u003ccite>(Courtesy: SFAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The numbers were promising. According to the housing site \u003ca href=\"https://www.zumper.com/blog/2016/01/zumper-national-rent-report-january-2016/\" target=\"_blank\" rel=\"noopener\">Zumper\u003c/a>, average rent for a one-bedroom apartment in Vallejo is $1,100; in Oakland that jumps to $2,210 and in San Francisco, it’s a cool $3,490. In the same SFAC survey, artists pay an average of $1.75 per square foot for their studio spaces. In Vallejo’s Coal Shed Studios, one of the city’s largest complexes of artists’ working spaces, the average rate is $1 per square foot, a price that was set 10 years ago.\u003c/p>\n\u003cp>With all these figures rumbling in our heads, it didn’t take as long as we expected to drive up I-80 from Oakland, across the Carquinez Bridge and into downtown Vallejo. “It’s so close!” we said to each other with surprise.\u003c/p>\n\u003cfigure id=\"attachment_11174534\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SuperClassyB1200.jpg\" alt=\"Andy Rottner displays 'S, T, Steketee,' a book with art by Liz Steketee.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassyB1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andy Rottner displays ‘S, T, Steketee,’ a book with art by Liz Steketee. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A Super Classy Garage\u003c/h3>\n\u003cp>Trees making the shift from green to red, orange and yellow lined the streets. Winding up a hill on the east side of town, we arrived at the home of \u003ca href=\"http://www.superclassypublishing.com/\" target=\"_blank\" rel=\"noopener\">Super Classy Publishing\u003c/a>, a nondescript ranch style house on a suburban street that could have been anywhere in the Bay Area.\u003c/p>\n\u003cp>It is also the home of Andy and Katie Rottner, who have turned their garage (“Who needs to park their car in their garage?” says Katie) into a small publishing operation. The couple moved to Vallejo from Oakland in 2013, finding a house with plenty of space for both their young family and their studio, not to mention sweeping views of the city and San Pablo Bay. Making meticulous cloth-covered boxes and limited edition artist books — many one-of-a-kind — the Rottners carve out a supplemental income doing what they love.\u003c/p>\n\u003cfigure id=\"attachment_11174533\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SuperClassy1200.jpg\" alt=\"Super Classy Publishing book 'I'm Over Here Now,' with art by Danny White.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SuperClassy1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Super Classy Publishing book ‘I’m Over Here Now,’ with art by Danny White. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Katie works from home as a marketing copywriter, Andy teaches bookbinding at the San Francisco Art Institute and San Francisco Center for the Book, commuting several days a week into San Francisco. He often takes the ferry, which he deems “very civilized” in comparison to the “very grim” stop-and-go highway traffic during commuting hours.\u003c/p>\n\u003cp>Relative newcomers to the city, the Rottners also feel a bit disconnected from the local arts scene. Their clients come mostly from San Francisco and the East Bay. “I wish we were better connected to the day-to-day art world in Vallejo,” said Andy. “I think the art world here is super grassroots. People are very prideful about it, but there’s no central forum.”\u003c/p>\n\u003cp>“Well the Hub is sort of that,” said Katie.\u003c/p>\n\u003cp>Speak of the devil, we said — we’re going there next.\u003c/p>\n\u003cfigure id=\"attachment_11174535\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174535\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200.jpg\" alt=\"Vallejo Art Window by Brad Isdrab.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Window-SherryTobin1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Vallejo Art Window by Brad Isdrab. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hubbub at the Hub\u003c/h3>\n\u003cp>At the corner of Georgia and Marin Streets in downtown Vallejo stands \u003ca href=\"http://oddfellowsvallejo.org/\" target=\"_blank\" rel=\"noopener\">Odd Fellows San Pablo Lodge #43\u003c/a>, home to the city’s longstanding chapter of the community-minded social club.\u003c/p>\n\u003cp>“Since the 1990s, downtown Vallejo has slowly turned into a near-ghost town, with empty storefronts lining what was once the booming main street of Vallejo,” the lodge wrote on its Facebook page in August 2013. “We need to bring business and life back to downtown.” With that, the order’s ground-floor retail space transformed into \u003ca href=\"http://www.thehubvallejo.com/Home_-_The_Hub_Vallejo.html\" target=\"_blank\" rel=\"noopener\">the Hub\u003c/a>, a multi-purpose space hosting workshops and events, selling artists’ wares and providing a gathering space for arts enthusiasts of all ages.\u003c/p>\n\u003cp>When we arrived, the Hub was bustling. Easily two dozen people roamed through the displays of art, crafted objects and jewelry. It wasn’t just a crowd of casual shoppers; everyone clearly knew each other. Realization dawned: They were all here to meet us.\u003c/p>\n\u003cfigure id=\"attachment_11174536\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174536\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/IMG_7014-e1450490596273.jpg\" alt=\"Utility box art in downtown Vallejo.\" width=\"427\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_7014-e1450490596273.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_7014-e1450490596273-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">Utility box art in downtown Vallejo. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Word had spread through Ric Duran, a self-described “volunteer junkie” active with a wide variety of Vallejo organizations. Duran told us he made more friends in six months of living in Vallejo than he did in six years of life in San Francisco. The crowd he’d gathered was tangible proof of that.\u003c/p>\n\u003cp>Over the next two hours we talked to everyone — from the “oldest living Vallejo artist” to the president of the Vallejo Symphony. If the day’s conversation floated into a word cloud above our heads, “community,” “belonging,” “great energy” and “momentum” emerged as the clear favorites.\u003c/p>\n\u003cp>Vallejo resident Karen Sims spoke of the range of community-based initiatives, saying the artistic opportunities in the city give people “vibrancy and hope.” Erin Bakke, artist and founder of \u003ca href=\"http://vallejoartwindows.com/\" target=\"_blank\" rel=\"noopener\">Vallejo Art Windows\u003c/a>, a project that puts local artists’ installations in vacant storefronts, said, “You can feel it, there’s a vibe… it’s very energizing.”\u003c/p>\n\u003cp>The superlatives themselves gained momentum. Chris Viridian, one of the Hub’s co-founders, moved to Vallejo after the city filed for bankruptcy. At the time, his monthly mortgage cost less than what he had been paying in rent elsewhere. “A lot of artists moved in because it was cheap,” he said. “Right now, what we have is very reminiscent of what we had in Paris in the 1930s,” he said. “It is always the artists that turn the communities around.”\u003c/p>\n\u003cp>The Rottners touched on this very subject earlier in the day, but with a hint more caution: “I think the issue is, you make Vallejo better, but you don’t want to change its essential nature. Part of what’s great about it is how it is now,” said Andy. “I think that’s something a lot of places in the Bay Area are facing. How do you improve things?”\u003c/p>\n\u003cp>The Hub and people gathered within it seem to focus their energies on the downtown area, in a grassroots form of \u003ca href=\"https://www.arts.gov/sites/default/files/CreativePlacemaking-Paper.pdf\" target=\"_blank\" rel=\"noopener\">creative placemaking\u003c/a>. The second Friday of every month, the \u003ca href=\"http://www.vallejoartwalk.com/vallejoartwalk/home.html\" target=\"_blank\" rel=\"noopener\">Vallejo Art Walk\u003c/a> brings artists, food vendors, musicians and locals to the downtown blocks, joining forces with 31 nearby businesses. Across the street from the Hub, the folks at Artiszen — not to be confused with having anything to do with Zen Buddhism — talked to us about their planned summer arts classes for Vallejo children. The city’s annual Mad Hatter Holiday Festival gathers flame-spouting art cars, the local California Maritime Academy’s marching band and (this year) Storm Troopers in a parade down Georgia Street, ending with a tree-lighting festival.\u003c/p>\n\u003cp>Such gathering spots and events, instituted by a local arts community of mostly transplants, have entwined themselves in the very fabric of the city. But in the push to revitalize downtown Vallejo through the arts scene, is there still room for projects that don’t produce objects or fit under the umbrella of “community arts”? What does it mean to live in Vallejo if you don’t make large-scale Burning Man sculptures, steampunk accoutrements or window displays?\u003c/p>\n\u003cp>As we left the Hub, we set out to answer that very question.\u003c/p>\n\u003cfigure id=\"attachment_11174531\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174531\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ReSoundA1200.jpg\" alt=\"An old storage building on Mare Island, where Re:Sound concerts take place.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundA1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An old storage building on Mare Island, where Re:Sound concerts take place. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Reverb with Re:Sound\u003c/h3>\n\u003cp>After a hurried but delicious lunch at Gracie’s BBQ, we journeyed across the Napa River to Mare Island. The Mare Island Naval Shipyard, a major element of the city’s economic engine throughout its history, closed in 1996, leaving behind rusting equipment, acres of empty buildings and the loss of 5,800 jobs. Today the strip of land is home to (among others) Touro University, a golf club, a prefabricated home company and the \u003ca href=\"http://www.mareislandpreserve.org/MareIslandPreserve/Homepage.html\" target=\"_blank\" rel=\"noopener\">Mare Island Shoreline Heritage Preserve\u003c/a>, aka the location of an experimental sound concert series called \u003ca href=\"http://www.re-sound.net/\" target=\"_blank\" rel=\"noopener\">Re:Sound\u003c/a>.\u003c/p>\n\u003cp>Sound artist and special education teacher Jen Boyd greeted us at what looked like the end of Railroad Avenue, unlocking a chain-link gate to lead us deeper into the preserve, fennel surrounding us pungently on all sides.\u003c/p>\n\u003cp>Re:Sound is just one year old, but Boyd says the response has been extremely positive. Her two- to five-hour-long concerts bring sound artist luminaries into a cavernous concrete building formerly used by the Navy to store munitions. “Everyone I bring here is like, ‘I didn’t know this existed,’” she says.\u003c/p>\n\u003cfigure id=\"attachment_11174530\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174530\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ReSound1200.jpg\" alt=\"Jen Boyd against a background of wild fennel.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSound1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jen Boyd against a background of wild fennel. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her voice echoes for what feels like forever — the building creates a six-second tail of reverberation. “When artists play here, their pieces are driven by the space,” she says. Each concert draws an audience of about 120 people from all over Northern California to what Boyd likes to a call “a forgotten space.”\u003c/p>\n\u003cp>For Boyd, who relocated from Oakland to buy a home in Vallejo in 2010, Re:Sound is a labor of love. She provides the generators, porta-potties and promotional materials for each concert, and helps the performers out as much as possible with travel costs. “I wanted to bring something to Vallejo,” she says. “I play a lot in San Francisco and Los Angeles and I just wanted to bring something here.”\u003c/p>\n\u003cp>The next Re:Sound concert will be a two-day affair on Feb. 20 and 21, scheduled to coincide with the \u003ca href=\"http://www.sfbayflywayfestival.com/San_Francisco_Bay_Flyway_Festival/San_Francisco_Bay_Flyway_Festival.html\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Flyway Festival\u003c/a>, a celebration of aviary wildlife at the peak of their migration. Distancing herself from certain activities at the Hub (fire-breathing sculpture, for one), she underlines the importance of listening to nature — in both the Re:Sound concerts and her own work.\u003c/p>\n\u003cp>Does Boyd, like everyone else we met, think we, too, should move to Vallejo? Yes, but with a caveat: “I think people should come so we can start more diverse stuff.”\u003c/p>\n\u003cfigure id=\"attachment_11174532\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11174532\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ReSoundB1200.jpg\" alt=\"The interior, resounding space of the Re:Sound building.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ReSoundB1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The interior, resounding space of the Re:Sound building. \u003ccite>(Photo: Lakshmi Sarah/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>What We Didn’t See\u003c/h3>\n\u003cp>It was time to leave the “Up-Bay.” (We don’t know if this is a real thing that people say, we only heard it once.) But surrounded by eight-foot-tall fennel plants, the car wouldn’t start. Would we be trapped on Mare Island forever? Would that be so bad?\u003c/p>\n\u003cp>Partly due to our prolonged stay at the Hub, and partly due to our own underestimation of what Vallejo had to offer, we ran out of time to accomplish our day trip’s lofty goals. We didn’t see the restored interior of the \u003ca href=\"http://empresstheatre.org/\" target=\"_blank\" rel=\"noopener\">Empress Theatre\u003c/a>, a 471-seat music and performance venue downtown. We didn’t have time to visit the \u003ca href=\"http://coalshedstudios.com/\" target=\"_blank\" rel=\"noopener\">Coal Shed Studios\u003c/a> on Mare Island, where 18 artists pursue their practices. We did meet Henry Beecher, chair of the \u003ca href=\"http://www.mccunecollection.org/\" target=\"_blank\" rel=\"noopener\">McCune Rare Book and Art Collection\u003c/a>, but we couldn’t browse the collection itself. We ate BBQ chicken, but we didn’t sample any recommended taco trucks. We didn’t even catch a glimpse of the ferry to San Francisco, let alone sample the \u003ca href=\"http://www.mareislandbrewingco.com/\" target=\"_blank\" rel=\"noopener\">Mare Island Brewing Company’s Taproom\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The car finally started and we began our reverse commute back to the East Bay. With rental rates in the Bay Area showing no sign of decline, perhaps Vallejo \u003ci>is\u003c/i> the burgeoning art community you’re looking for. We barely scratched the surface. And \u003ca href=\"http://www.zillow.com/vallejo-ca/\" target=\"_blank\" rel=\"noopener\">Zillow’s looking good\u003c/a>, at least to Lakshmi.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lovers, Mothers, and Fighters: Lit Picks for Feb. 22 - March 2",
"headTitle": "Lovers, Mothers, and Fighters: Lit Picks for Feb. 22 – March 2 | KQED",
"content": "\u003cp>Literature, the best of it, never shies from the good, the bad, or the ugly. Rather, it runs straight for it. The books from this month’s crop of authors coming to town are brave, critical, and honest. Relationship trauma, abandoned children, racial violence in America, even fashion; all represented, once again proving that in art, we just might be saved from our worst selves.\u003c/p>\n\u003cp>\u003cstrong>Thursday, February 25: Melissa Cistaro and Sere Prince Halverson at A Great Good Place for Books, Oakland\u003c/strong>\u003c/p>\n\u003cp>Mothers, it’s commonly assumed, would give up everything for the good of their chil\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11336471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Pieces_of_my_Mother.jpg\" alt=\"Pieces_of_my_Mother\" width=\"180\" height=\"270\">d. A good mother would never leave her child, not for anything, right? For Melissa Cistaro, who grew up in the Bay Area, that story got turned on its head when her own mother drove off without explanation, leaving her children behind. Newly released in paperback, Cistaro’s memoir \u003cem>Pieces of My Mother\u003c/em> captures what it’s like to grapple with abandonment, what it’s like to be left behind by the person who is supposed to adore you until the bitter end. Cistaro will be in conversation with Sere Prince Halverson, whose latest novel \u003cem>All the Winters After\u003c/em> comes out this month. \u003ca href=\"http://www.ggpbooks.com/event/melissa-cistaro-pieces-my-mother-and-sere-prince-halverson-all-winters-after\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Feb. 26: Paul Lisicky at Booksmith, San Francisco\u003c/strong>\u003c/p>\n\u003cp>“To think you can love someone so well that he’d forget the dead, forget his pain. To think of love as a laser beam of attention. To think you could bea\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11336472\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/rawImage.jpg\" alt=\"rawImage\" width=\"229\" height=\"154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/rawImage.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/rawImage-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/rawImage-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/rawImage-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/rawImage-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/rawImage-1920x1288.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/rawImage-960x644.jpg 960w\" sizes=\"(max-width: 229px) 100vw, 229px\">m that attention to him in such a way that he wouldn’t even know you were doing it. To learn that your attention is doomed. Unwelcome, better having been put to other uses: helping the poor, working for the environment, for animals. To learn that you are only a pale winter sun, when you once thought you could have made the hillsides green.” Passage like this are what makes Paul Lisicky’s \u003cem>The Narrow Door: A Memoir of Friendship\u003c/em>, one of my favorite books so far of 2016. It’s a precise, poetic, honest retelling of what it’s like to lose a best friend to unbeatable terminal disease and a partner to irreconcilable differences, but also, so much more. Read it. \u003ca href=\"http://www.booksmith.com/event/bookswap-paul-lisicky\">Details here\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Tuesday, March 1: Cintra Wilson at Alamo Drafthouse New Mission, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11336476\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/wilson.jpg\" alt=\"wilson\" width=\"182\" height=\"277\">Cintra Wilson lives in New York now, but the pop culture pundit’s roots are in Marin and San Francisco. She started out in theater, writing plays and performing. From theater she moved into journalism, working for editor \u003ca href=\"http://www.salon.com/writer/gary_kamiya/\">Gary Kamiya\u003c/a> at \u003cem>Frisko\u003c/em> Magazine, and Salon. Also, the lady loves fashion (unless it comes from \u003ca href=\"http://www.nytimes.com/2009/08/13/fashion/13CRITIC.html\">J.C. Penney\u003c/a>). In a 2004 interview with \u003cem>San Francisco Chronicle\u003c/em>, she describes her book event attire from the previous evening: a “bejeweled banquet dress from British Hong Kong,” Lucite heels, homemade silver antlers, and glitter. In her latest book, \u003cem>Fear and Clothing: Unbuckling American Style\u003c/em>, Wilson, goes deep into fashion. \u003ca href=\"http://www.litquake.org/events/epicenter-cintra-wilson-conversation-gary-kamiya\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, March 2: Claudia Rankine at St. Mary’s College, Moraga\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11336477\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/citizen-243x366.jpg\" alt=\"citizen-243x366\" width=\"190\" height=\"286\">Beyonce and Kendrick Lamar both got attention of late for bringing sonorous meditations on race and blackness to mass audiences in 2016. Beyonce with Formation at her Super Bowl performance. Kendrick with his performance at this month’s Grammy Awards. You might think of Claudia Rankine’s \u003cem>Citizen\u003c/em>, her 2014 hybrid of poetry and criticism, as a precursor to their performances. \u003cem>Citizen\u003c/em> was awarded the 2014 National Book Critics Circle Award as well as the National Book Awards for poetry. In a recent LARB piece on Rankine, Daniel Wolden says it like this: “At a moment when we have become accustomed to hearing from figures like Jonathan Franzen that experimental or “difficult” literature is no longer relevant, and that poetry, especially, is almost doomed to reach a small, coterie audience, \u003cem>Citizen\u003c/em>’s wide success is impressive.” \u003ca href=\"http://www.stmarys-ca.edu/mfa-in-creative-writing/creative-writing-reading-series\">Details here \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Literature, the best of it, never shies from the good, the bad, or the ugly. Rather, it runs straight for it. The books from this month’s crop of authors coming to town are brave, critical, and honest. Relationship trauma, abandoned children, racial violence in America, even fashion; all represented, once again proving that in art, we just might be saved from our worst selves.\u003c/p>\n\u003cp>\u003cstrong>Thursday, February 25: Melissa Cistaro and Sere Prince Halverson at A Great Good Place for Books, Oakland\u003c/strong>\u003c/p>\n\u003cp>Mothers, it’s commonly assumed, would give up everything for the good of their chil\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11336471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Pieces_of_my_Mother.jpg\" alt=\"Pieces_of_my_Mother\" width=\"180\" height=\"270\">d. A good mother would never leave her child, not for anything, right? For Melissa Cistaro, who grew up in the Bay Area, that story got turned on its head when her own mother drove off without explanation, leaving her children behind. Newly released in paperback, Cistaro’s memoir \u003cem>Pieces of My Mother\u003c/em> captures what it’s like to grapple with abandonment, what it’s like to be left behind by the person who is supposed to adore you until the bitter end. Cistaro will be in conversation with Sere Prince Halverson, whose latest novel \u003cem>All the Winters After\u003c/em> comes out this month. \u003ca href=\"http://www.ggpbooks.com/event/melissa-cistaro-pieces-my-mother-and-sere-prince-halverson-all-winters-after\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Feb. 26: Paul Lisicky at Booksmith, San Francisco\u003c/strong>\u003c/p>\n\u003cp>“To think you can love someone so well that he’d forget the dead, forget his pain. To think of love as a laser beam of attention. To think you could bea\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11336472\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/rawImage.jpg\" alt=\"rawImage\" width=\"229\" height=\"154\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/rawImage.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/rawImage-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/rawImage-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/rawImage-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/rawImage-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/rawImage-1920x1288.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/rawImage-960x644.jpg 960w\" sizes=\"(max-width: 229px) 100vw, 229px\">m that attention to him in such a way that he wouldn’t even know you were doing it. To learn that your attention is doomed. Unwelcome, better having been put to other uses: helping the poor, working for the environment, for animals. To learn that you are only a pale winter sun, when you once thought you could have made the hillsides green.” Passage like this are what makes Paul Lisicky’s \u003cem>The Narrow Door: A Memoir of Friendship\u003c/em>, one of my favorite books so far of 2016. It’s a precise, poetic, honest retelling of what it’s like to lose a best friend to unbeatable terminal disease and a partner to irreconcilable differences, but also, so much more. Read it. \u003ca href=\"http://www.booksmith.com/event/bookswap-paul-lisicky\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, March 1: Cintra Wilson at Alamo Drafthouse New Mission, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-11336476\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/wilson.jpg\" alt=\"wilson\" width=\"182\" height=\"277\">Cintra Wilson lives in New York now, but the pop culture pundit’s roots are in Marin and San Francisco. She started out in theater, writing plays and performing. From theater she moved into journalism, working for editor \u003ca href=\"http://www.salon.com/writer/gary_kamiya/\">Gary Kamiya\u003c/a> at \u003cem>Frisko\u003c/em> Magazine, and Salon. Also, the lady loves fashion (unless it comes from \u003ca href=\"http://www.nytimes.com/2009/08/13/fashion/13CRITIC.html\">J.C. Penney\u003c/a>). In a 2004 interview with \u003cem>San Francisco Chronicle\u003c/em>, she describes her book event attire from the previous evening: a “bejeweled banquet dress from British Hong Kong,” Lucite heels, homemade silver antlers, and glitter. In her latest book, \u003cem>Fear and Clothing: Unbuckling American Style\u003c/em>, Wilson, goes deep into fashion. \u003ca href=\"http://www.litquake.org/events/epicenter-cintra-wilson-conversation-gary-kamiya\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, March 2: Claudia Rankine at St. Mary’s College, Moraga\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11336477\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/citizen-243x366.jpg\" alt=\"citizen-243x366\" width=\"190\" height=\"286\">Beyonce and Kendrick Lamar both got attention of late for bringing sonorous meditations on race and blackness to mass audiences in 2016. Beyonce with Formation at her Super Bowl performance. Kendrick with his performance at this month’s Grammy Awards. You might think of Claudia Rankine’s \u003cem>Citizen\u003c/em>, her 2014 hybrid of poetry and criticism, as a precursor to their performances. \u003cem>Citizen\u003c/em> was awarded the 2014 National Book Critics Circle Award as well as the National Book Awards for poetry. In a recent LARB piece on Rankine, Daniel Wolden says it like this: “At a moment when we have become accustomed to hearing from figures like Jonathan Franzen that experimental or “difficult” literature is no longer relevant, and that poetry, especially, is almost doomed to reach a small, coterie audience, \u003cem>Citizen\u003c/em>’s wide success is impressive.” \u003ca href=\"http://www.stmarys-ca.edu/mfa-in-creative-writing/creative-writing-reading-series\">Details here \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Do you have what it takes to be the next San Francisco Poet Laureate?\u003c/p>\n\u003cp>Mayor Ed Lee and the SF Poet Laureate Nominating Committee put out a call Thursday for nominations to the post.\u003c/p>\n\u003cp>Candidates have to meet a daunting set of standards; they must have published “one full length book (minimum 48 pages, not self-published or vanity press) and/or professional digital recording of performance with text (not self-produced) or 20 or more published poems in established publications, print or online, over the past five years.”\u003c/p>\n\u003cp>That line knocking vanity presses is just cruel.\u003c/p>\n\u003cp>The nominee must also be a city resident. What poet can still afford to live in San Francisco?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Beat survivor Lawrence Ferlinghetti inaugurated the post.\u003c/p>\n\u003cp>\u003ca href=\"http://alejandromurguia.org/category/events/\" target=\"_blank\" rel=\"noopener\">Alejandro Murguía \u003c/a>is the current Poet Laureate, the first Latino to hold the position. He’s written four books of history, short stories, and poetry in Spanish and English. He gave a speech recalling that the first time he was paid for a reading, he got two beers, but one was thrown at him.\u003c/p>\n\u003cfigure id=\"attachment_11342153\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11342153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/PoetLaureatePhoto-1180x787.jpg\" alt=\"San Francisco's current poet laureate Alejandro Muguira\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PoetLaureatePhoto-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PoetLaureatePhoto-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PoetLaureatePhoto-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PoetLaureatePhoto-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PoetLaureatePhoto-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PoetLaureatePhoto-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s current poet laureate Alejandro Muguira \u003ccite>(Photo Credit: SF Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here’s an excerpt from his\u003ca href=\"http://www.citylights.com/book/?GCOI=87286100187520\" target=\"_blank\" rel=\"noopener\"> poem “O California”:\u003c/a>\u003c/p>\n\u003cblockquote>\u003cp>Se fueron por el Camino Real\u003c/p>\n\u003cp>Ese largo y triste camino de eucaliptos\u003c/p>\n\u003cp>Cargados con frijol y maíz\u003c/p>\n\u003cp>Y llegaron en lowered-down Chevy ranflas\u003c/p>\n\u003cp>Con gafas fileros y tomando botellas de tequila\u003c/p>\n\u003cp>Que decían Made in Mexico\u003c/p>\n\u003cp>Hablando tres palabras de inglés\u003c/p>\n\u003cp>Apple pie y coffee\u003c/p>\n\u003cp>Y cantando—\u003c/p>\n\u003cp>Vámonos a California Vámonos a California\u003c/p>\u003c/blockquote>\n\u003cp>The new laureate will be judged worthy by a panel of their peers on the selection committee, including former laureates Jack Hirschman and Janice Mirikitami.\u003c/p>\n\u003cp>There is an honorarium. The public library, which runs the program, pays a $5,000-stipend.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you think you have what it takes, \u003ca href=\"http://sfpl.org/index.php?pg=2000496901\" target=\"_blank\" rel=\"noopener\">here’s the link\u003c/a> to the application. The deadline is April 17.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you have what it takes to be the next San Francisco Poet Laureate?\u003c/p>\n\u003cp>Mayor Ed Lee and the SF Poet Laureate Nominating Committee put out a call Thursday for nominations to the post.\u003c/p>\n\u003cp>Candidates have to meet a daunting set of standards; they must have published “one full length book (minimum 48 pages, not self-published or vanity press) and/or professional digital recording of performance with text (not self-produced) or 20 or more published poems in established publications, print or online, over the past five years.”\u003c/p>\n\u003cp>That line knocking vanity presses is just cruel.\u003c/p>\n\u003cp>The nominee must also be a city resident. What poet can still afford to live in San Francisco?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beat survivor Lawrence Ferlinghetti inaugurated the post.\u003c/p>\n\u003cp>\u003ca href=\"http://alejandromurguia.org/category/events/\" target=\"_blank\" rel=\"noopener\">Alejandro Murguía \u003c/a>is the current Poet Laureate, the first Latino to hold the position. He’s written four books of history, short stories, and poetry in Spanish and English. He gave a speech recalling that the first time he was paid for a reading, he got two beers, but one was thrown at him.\u003c/p>\n\u003cfigure id=\"attachment_11342153\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11342153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/PoetLaureatePhoto-1180x787.jpg\" alt=\"San Francisco's current poet laureate Alejandro Muguira\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PoetLaureatePhoto-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PoetLaureatePhoto-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PoetLaureatePhoto-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PoetLaureatePhoto-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PoetLaureatePhoto-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/PoetLaureatePhoto-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s current poet laureate Alejandro Muguira \u003ccite>(Photo Credit: SF Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here’s an excerpt from his\u003ca href=\"http://www.citylights.com/book/?GCOI=87286100187520\" target=\"_blank\" rel=\"noopener\"> poem “O California”:\u003c/a>\u003c/p>\n\u003cblockquote>\u003cp>Se fueron por el Camino Real\u003c/p>\n\u003cp>Ese largo y triste camino de eucaliptos\u003c/p>\n\u003cp>Cargados con frijol y maíz\u003c/p>\n\u003cp>Y llegaron en lowered-down Chevy ranflas\u003c/p>\n\u003cp>Con gafas fileros y tomando botellas de tequila\u003c/p>\n\u003cp>Que decían Made in Mexico\u003c/p>\n\u003cp>Hablando tres palabras de inglés\u003c/p>\n\u003cp>Apple pie y coffee\u003c/p>\n\u003cp>Y cantando—\u003c/p>\n\u003cp>Vámonos a California Vámonos a California\u003c/p>\u003c/blockquote>\n\u003cp>The new laureate will be judged worthy by a panel of their peers on the selection committee, including former laureates Jack Hirschman and Janice Mirikitami.\u003c/p>\n\u003cp>There is an honorarium. The public library, which runs the program, pays a $5,000-stipend.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you think you have what it takes, \u003ca href=\"http://sfpl.org/index.php?pg=2000496901\" target=\"_blank\" rel=\"noopener\">here’s the link\u003c/a> to the application. The deadline is April 17.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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