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"content": "\u003cdiv class=\"post-body\">\u003cp>You can get a Cash App Visa card by opening the Cash App app and selecting the rectangular card icon at the bottom, second from the left. Select “Get Your Free Card.” Choose the free option, enter your street address, and — because we live in a \u003cem>surveillance\u003c/em> dystopia — enter your social security number. Scroll past a bunch of terms and conditions that nobody reads, hit “continue,” and you’re done. \u003c/p>\n\u003cp>Your physical card will show up in the mail later, but you can still use your card number to buy tickets. Select the card icon at the bottom of the app again, and your virtual card will be displayed. Tap the “eye” icon in the upper right of the card to show the full card number. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You will also need to \u003ca href=\"https://cash.app/exclusives/kendrickandsza\">active your card and pre-load money into your Cash App balance\u003c/a> before this entire process; the card is not a conventional credit card, and works more like a debit card. How much money, you may wonder? Who knows, because we live in a \u003cem>consumerist\u003c/em> dystopia, and Ticketmaster refuses to advertise ticket prices before the onsale, while Cash App will be happy for you to anxiously pre-load $1,000 on their card and then forget about your remaining balance afterward. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you want to skip this labyrinthian nonsense and take your chances with the general public onsale, that happens on \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">Friday, Dec. 6, at 10 a.m. Pacific Time\u003c/a>. Oracle Park holds over 40,000 people. If you’re okay with sitting in the stands, you might be good. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13968772\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed.jpg\" alt=\"Two women in neon pink and purple outfits reminiscent of the 1980s pose together in front of a Christmas tree.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Best friends Anndrea Miller, left, and Krista Ball pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cyndi Lauper came to San Francisco Tuesday night on what she’s promising is her final tour — and her fans came appropriately dressed in style. \u003c/p>\n\u003cp>KQED’s Gina Castro was there to document the looks. \u003ca href=\"https://www.kqed.org/arts/13968734/review-cyndi-lauper-san-francisco-farewell-tour-chase-center\">Read our review of the show here\u003c/a>, and see photos of fan fashions at the Chase Center below.\u003c/p>\n\u003cfigure id=\"attachment_13968776\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An attendee of the Cyndi Lauper concert holds up a pink glove during the Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968771\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shannon McVey, left, and her daughter Bridget McVey, 16, pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968768\" class=\"wp-caption aligncenter\" style=\"max-width: 889px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed.jpg\" alt=\"\" width=\"889\" height=\"1333\" class=\"size-full wp-image-13968768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed-768x1152.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003cfigcaption class=\"wp-caption-text\">Dione Zumbach, of Reno, NV, poses for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. Dione became a fan when her father gifted her Cyndi’s record ‘She’s So Unusual’ when she was around 7 years old. Her mom made her a custom red dress similar to Cyndi Lauper’s dress on the cover of album. For Dione, Cyndi represents power, love and the freedom to be whoever you want to be. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968765\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed.jpg\" alt=\"\" width=\"2000\" height=\"1318\" class=\"size-full wp-image-13968765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-1536x1012.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-1920x1265.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dione Zumbach wears a Cyndi Lauper pin for the concert during the Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 27, 2024. Dione became a fan when her father gifted her the album ‘She’s So Unusual’ when she was around 7 years old. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968764\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968764\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Friends Rebecca Lee, of Grass Valley, and Tangerine Gyi pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968773\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Erwin Kunnen, from the Netherlands, Shannon Spicer and Greg Phelps pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968767\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Tan poses for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968774\" class=\"wp-caption aligncenter\" style=\"max-width: 1910px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed.jpg\" alt=\"\" width=\"1910\" height=\"1333\" class=\"size-full wp-image-13968774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed.jpg 1910w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-1536x1072.jpg 1536w\" sizes=\"(max-width: 1910px) 100vw, 1910px\">\u003cfigcaption class=\"wp-caption-text\">Trixie Mattel, drag queen, DJ and TV personality, opens for Cyndi Lauper during the Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968769\" class=\"wp-caption aligncenter\" style=\"max-width: 889px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed.jpg\" alt=\"\" width=\"889\" height=\"1333\" class=\"size-full wp-image-13968769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed-768x1152.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003cfigcaption class=\"wp-caption-text\">Cousins Elaina Hernandez, left, and Karista Cavasos, right, pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. Elaina remembers rollerblading while listening to Cyndi Lauper in the ’80s. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968779\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sister Shalita, left, and Sister Roma, right, both with the Sisters of Perpetual Indulgence, attend the Cyndi Lauper concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 27, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968766\" class=\"wp-caption aligncenter\" style=\"max-width: 889px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed.jpg\" alt=\"\" width=\"889\" height=\"1333\" class=\"size-full wp-image-13968766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed-768x1152.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003cfigcaption class=\"wp-caption-text\">Mikey Medrano poses for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. Mikey’s mom played Cyndi’s music when he was young, and he’s been a fan ever since. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968778\" class=\"wp-caption aligncenter\" style=\"max-width: 1936px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed.jpg\" alt=\"\" width=\"1936\" height=\"1333\" class=\"size-full wp-image-13968778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed.jpg 1936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-1536x1058.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-1920x1322.jpg 1920w\" sizes=\"(max-width: 1936px) 100vw, 1936px\">\u003cfigcaption class=\"wp-caption-text\">From left, friends Adrianne Adams, Heather Parker, Pamela Collver and Jennifer Bernstein, all coming from Eureka, pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 27, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968775\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Trixie Carr looks out across the crowd during the Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968763\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Graves of Palo Alto, a Cyndi Lauper fan since the early ’80s, poses for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 27, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Cyndi Lauper fans dressed up in style for her tour stop at the Chase Center on Tuesday night. ",
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"title": "Photos: Cyndi Lauper Fans Show Their True Colors in San Francisco | KQED",
"description": "Cyndi Lauper fans dressed up in style for her tour stop at the Chase Center on Tuesday night. ",
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"headline": "Photos: Cyndi Lauper Fans Show Their True Colors in San Francisco",
"datePublished": "2024-11-27T11:24:51-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13968772\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed.jpg\" alt=\"Two women in neon pink and purple outfits reminiscent of the 1980s pose together in front of a Christmas tree.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968772\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-12_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Best friends Anndrea Miller, left, and Krista Ball pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cyndi Lauper came to San Francisco Tuesday night on what she’s promising is her final tour — and her fans came appropriately dressed in style. \u003c/p>\n\u003cp>KQED’s Gina Castro was there to document the looks. \u003ca href=\"https://www.kqed.org/arts/13968734/review-cyndi-lauper-san-francisco-farewell-tour-chase-center\">Read our review of the show here\u003c/a>, and see photos of fan fashions at the Chase Center below.\u003c/p>\n\u003cfigure id=\"attachment_13968776\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968776\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-22_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An attendee of the Cyndi Lauper concert holds up a pink glove during the Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968771\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-14_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shannon McVey, left, and her daughter Bridget McVey, 16, pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968768\" class=\"wp-caption aligncenter\" style=\"max-width: 889px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed.jpg\" alt=\"\" width=\"889\" height=\"1333\" class=\"size-full wp-image-13968768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-6_qed-768x1152.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003cfigcaption class=\"wp-caption-text\">Dione Zumbach, of Reno, NV, poses for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. Dione became a fan when her father gifted her Cyndi’s record ‘She’s So Unusual’ when she was around 7 years old. Her mom made her a custom red dress similar to Cyndi Lauper’s dress on the cover of album. For Dione, Cyndi represents power, love and the freedom to be whoever you want to be. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968765\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed.jpg\" alt=\"\" width=\"2000\" height=\"1318\" class=\"size-full wp-image-13968765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-1536x1012.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-7_qed-1920x1265.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dione Zumbach wears a Cyndi Lauper pin for the concert during the Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 27, 2024. Dione became a fan when her father gifted her the album ‘She’s So Unusual’ when she was around 7 years old. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968764\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968764\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-4_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Friends Rebecca Lee, of Grass Valley, and Tangerine Gyi pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968773\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-13_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Erwin Kunnen, from the Netherlands, Shannon Spicer and Greg Phelps pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968767\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-8_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Tan poses for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968774\" class=\"wp-caption aligncenter\" style=\"max-width: 1910px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed.jpg\" alt=\"\" width=\"1910\" height=\"1333\" class=\"size-full wp-image-13968774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed.jpg 1910w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-18_qed-1536x1072.jpg 1536w\" sizes=\"(max-width: 1910px) 100vw, 1910px\">\u003cfigcaption class=\"wp-caption-text\">Trixie Mattel, drag queen, DJ and TV personality, opens for Cyndi Lauper during the Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968769\" class=\"wp-caption aligncenter\" style=\"max-width: 889px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed.jpg\" alt=\"\" width=\"889\" height=\"1333\" class=\"size-full wp-image-13968769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-9_qed-768x1152.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003cfigcaption class=\"wp-caption-text\">Cousins Elaina Hernandez, left, and Karista Cavasos, right, pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. Elaina remembers rollerblading while listening to Cyndi Lauper in the ’80s. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968779\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-23_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sister Shalita, left, and Sister Roma, right, both with the Sisters of Perpetual Indulgence, attend the Cyndi Lauper concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 27, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968766\" class=\"wp-caption aligncenter\" style=\"max-width: 889px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed.jpg\" alt=\"\" width=\"889\" height=\"1333\" class=\"size-full wp-image-13968766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-5_qed-768x1152.jpg 768w\" sizes=\"(max-width: 889px) 100vw, 889px\">\u003cfigcaption class=\"wp-caption-text\">Mikey Medrano poses for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. Mikey’s mom played Cyndi’s music when he was young, and he’s been a fan ever since. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968778\" class=\"wp-caption aligncenter\" style=\"max-width: 1936px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed.jpg\" alt=\"\" width=\"1936\" height=\"1333\" class=\"size-full wp-image-13968778\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed.jpg 1936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-1536x1058.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-11_qed-1920x1322.jpg 1920w\" sizes=\"(max-width: 1936px) 100vw, 1936px\">\u003cfigcaption class=\"wp-caption-text\">From left, friends Adrianne Adams, Heather Parker, Pamela Collver and Jennifer Bernstein, all coming from Eureka, pose for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 27, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968775\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-21_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Trixie Carr looks out across the crowd during the Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13968763\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-2_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Graves of Palo Alto, a Cyndi Lauper fan since the early ’80s, poses for a photo ahead of Cyndi Lauper’s concert for her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 27, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Cyndi Lauper Consoles a Post-Election Crowd in San Francisco",
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"content": "\u003cp>Cyndi Lauper didn’t once mention the election Tuesday night, but it hung in the air so clearly that she didn’t need to. For a San Francisco crowd that included Nancy Pelosi in the third row, Lauper acknowledged the past three weeks without once saying the E-word or, God forbid, the T-word. \u003c/p>\n\u003cp>“I never thought I’d be a second-class citizen again, and not have autonomy over my own body because of my gender,” she said at one point. She talked about rock bands full of “men, men, men, men, men”; she spoke of the power in a woman driving herself somewhere, or writing her own songs. \u003c/p>\n\u003cfigure id=\"attachment_13968723\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27.jpg\" alt=\"\" width=\"2000\" height=\"1280\" class=\"size-full wp-image-13968723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1536x983.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1920x1229.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, after opener “She Bop” — a once-scandalous ode to (gasp!) female masturbation that underscored just how far American society has progressed since the 1980s — she talked about pretty much anything on her mind, like the ways American society has moved backward, particularly on women’s equal rights.\u003c/p>\n\u003cp>Lauper is on what she’s promising is her final tour, and she’s so beloved by fans that she padded an hour-and-45-minute farewell set with these extended, off-the-cuff monologues. But it was the songs that got the people to their feet, from the belting Gene Pitney torch ballad “I’m Gonna Be Strong’ to the No. 1 single “Time After Time,” performed to an arena bathed in phone lights. \u003c/p>\n\u003cfigure id=\"attachment_13968725\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44.jpg\" alt=\"\" width=\"2000\" height=\"1400\" class=\"size-full wp-image-13968725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1536x1075.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1920x1344.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is an odd artifact of the 1980s that both Cyndi Lauper and Donald Trump advocated for and \u003ca href=\"https://www.youtube.com/watch?v=JsKMb899g2Y\">participated in\u003c/a> pro wrestling. “The Goonies ‘R’ Good Enough” and its attendant film montage gave Lauper a reason to shout out wrestlers like Lou Albano, Fred Blassie and Rowdy Roddy Piper. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>How Trump used pro wrestling’s playbook and a reality TV show (on which Lauper \u003ca href=\"https://www.youtube.com/watch?v=k_Ie5B6utUA\">appeared\u003c/a>) to commandeer a political party and twice take over a nation will be studied for decades. For her part, Lauper on Tuesday night introduced a song that, as she said, seemed more true than ever: “Money Changes Everything.”\u003c/p>\n\u003cfigure id=\"attachment_13968726\" class=\"wp-caption aligncenter\" style=\"max-width: 1480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46.jpg\" alt=\"\" width=\"1480\" height=\"2000\" class=\"size-full wp-image-13968726\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-800x1081.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-1020x1378.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-768x1038.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-1137x1536.jpg 1137w\" sizes=\"(max-width: 1480px) 100vw, 1480px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, just about any song from Lauper’s smash album \u003cem>She’s So Unusual\u003c/em> won over the mostly 40-and-up crowd. During “When You Were Mine,” the masterwork by Prince about the aftermath of a situationship, you could feel the energy of thousands of people remembering what the song once meant to them, or who they shared it with, and where, long ago. \u003c/p>\n\u003cp>That connection persisted for “True Colors,” the enduring LGBTQ anthem which Lauper performed on a small stage in the center of the arena, a sheer rainbow fabric rippling in the air above. The moment was so strong, nearly reverent, that the following set closer arrived as a foregone afterthought.\u003c/p>\n\u003cfigure id=\"attachment_13968728\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13968728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Girls Just Wanna Have Fun” is so ubiquitous, so universal, that Lauper often finds new ways to perform it. On Tuesday night, oddly, that meant three giant portraits of the artist Yayoi Kusama, stern and unsmiling, on the giant stage backdrop, and a set and wardrobe bathed in Kusama’s red-and-white polka dots.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cyndi Lauper hugged Nancy Pelosi. Opener Trixie Mattel came back out to sing the second verse. Confetti ribbons shot into the air. If this truly was the last time San Francisco will see Lauper sing her hits, it left a memorable image. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cyndi Lauper didn’t once mention the election Tuesday night, but it hung in the air so clearly that she didn’t need to. For a San Francisco crowd that included Nancy Pelosi in the third row, Lauper acknowledged the past three weeks without once saying the E-word or, God forbid, the T-word. \u003c/p>\n\u003cp>“I never thought I’d be a second-class citizen again, and not have autonomy over my own body because of my gender,” she said at one point. She talked about rock bands full of “men, men, men, men, men”; she spoke of the power in a woman driving herself somewhere, or writing her own songs. \u003c/p>\n\u003cfigure id=\"attachment_13968723\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27.jpg\" alt=\"\" width=\"2000\" height=\"1280\" class=\"size-full wp-image-13968723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1536x983.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-27-1920x1229.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, after opener “She Bop” — a once-scandalous ode to (gasp!) female masturbation that underscored just how far American society has progressed since the 1980s — she talked about pretty much anything on her mind, like the ways American society has moved backward, particularly on women’s equal rights.\u003c/p>\n\u003cp>Lauper is on what she’s promising is her final tour, and she’s so beloved by fans that she padded an hour-and-45-minute farewell set with these extended, off-the-cuff monologues. But it was the songs that got the people to their feet, from the belting Gene Pitney torch ballad “I’m Gonna Be Strong’ to the No. 1 single “Time After Time,” performed to an arena bathed in phone lights. \u003c/p>\n\u003cfigure id=\"attachment_13968725\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44.jpg\" alt=\"\" width=\"2000\" height=\"1400\" class=\"size-full wp-image-13968725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1536x1075.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-44-1920x1344.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It is an odd artifact of the 1980s that both Cyndi Lauper and Donald Trump advocated for and \u003ca href=\"https://www.youtube.com/watch?v=JsKMb899g2Y\">participated in\u003c/a> pro wrestling. “The Goonies ‘R’ Good Enough” and its attendant film montage gave Lauper a reason to shout out wrestlers like Lou Albano, Fred Blassie and Rowdy Roddy Piper. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How Trump used pro wrestling’s playbook and a reality TV show (on which Lauper \u003ca href=\"https://www.youtube.com/watch?v=k_Ie5B6utUA\">appeared\u003c/a>) to commandeer a political party and twice take over a nation will be studied for decades. For her part, Lauper on Tuesday night introduced a song that, as she said, seemed more true than ever: “Money Changes Everything.”\u003c/p>\n\u003cfigure id=\"attachment_13968726\" class=\"wp-caption aligncenter\" style=\"max-width: 1480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46.jpg\" alt=\"\" width=\"1480\" height=\"2000\" class=\"size-full wp-image-13968726\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-800x1081.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-1020x1378.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-768x1038.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-46-1137x1536.jpg 1137w\" sizes=\"(max-width: 1480px) 100vw, 1480px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, just about any song from Lauper’s smash album \u003cem>She’s So Unusual\u003c/em> won over the mostly 40-and-up crowd. During “When You Were Mine,” the masterwork by Prince about the aftermath of a situationship, you could feel the energy of thousands of people remembering what the song once meant to them, or who they shared it with, and where, long ago. \u003c/p>\n\u003cp>That connection persisted for “True Colors,” the enduring LGBTQ anthem which Lauper performed on a small stage in the center of the arena, a sheer rainbow fabric rippling in the air above. The moment was so strong, nearly reverent, that the following set closer arrived as a foregone afterthought.\u003c/p>\n\u003cfigure id=\"attachment_13968728\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" class=\"size-full wp-image-13968728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/20241127_CyndiLauper_GC-29_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Cyndi Lauper performs during her Girls Just Wanna Have Fun Farewell Tour at the Chase Center in San Francisco on Nov. 26, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Girls Just Wanna Have Fun” is so ubiquitous, so universal, that Lauper often finds new ways to perform it. On Tuesday night, oddly, that meant three giant portraits of the artist Yayoi Kusama, stern and unsmiling, on the giant stage backdrop, and a set and wardrobe bathed in Kusama’s red-and-white polka dots.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cyndi Lauper hugged Nancy Pelosi. Opener Trixie Mattel came back out to sing the second verse. Confetti ribbons shot into the air. If this truly was the last time San Francisco will see Lauper sing her hits, it left a memorable image. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Angelina Jolie Is Graceful and Sharp as Opera Star Maria Callas in ‘Maria’",
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"content": "\u003cp>Angelina Jolie glides through the final days of Maria Callas’ short life in Pablo Larraín’s \u003cem>Maria\u003c/em>, a dramatic, evocative elegy to the famed soprano. It’s an affair that’s at turns melancholy, biting and grandly theatrical, an aria for a once in a generation star.\u003c/p>\n\u003cp>Reality is of little consequence on the stage and in \u003cem>Maria\u003c/em>. It’s all about the raw feeling, which serves the movie well, more dream than history lesson about La Callas. Early on, she pops some Mandrax and tells her devoted butler Ferruccio (a simply wonderful Pierfrancesco Favino) that a television crew is on the way. Are they real, he wonders.\u003c/p>\n\u003cp>[aside postid='arts_13968359']“As of this morning, what is real and what is not real is my business,” she says calmly and definitively, making a feast out of Steven Knight’s sharp script. It’s one of many great lines and moments for Jolie, whose intensity and resolve belie her fragile appearance. And it’s a signal to the audience as well: Don’t fret about dull facts or that Jolie doesn’t really resemble Callas all that much. This is a biopic as opera — an emotional journey fitting of the great diva, full of flair, beauty, betrayal, revelations and sorrow.\u003c/p>\n\u003cp>In \u003cem>Maria\u003c/em>, we are the companion to a protagonist with an ever-loosening grip on reality, walking with her through Paris, and her life, for one week in September 1977.\u003c/p>\n\u003cp>The images from cinematographer Ed Lachman, playfully shifting in form and style, take us on a scattershot journey through her triumphs on stage, her scandalous romance with Aristotle Onassis (Haluk Bilginer) and her traumatic youth. In the present, at age 53, she sleeps till midday, drinks the minimal calories she ingests, goes to restaurants where the waiters know her name looking for adulation and has visions of performances staged just for her all around the city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Callas is always immaculately dressed and assured, whether reflecting to the imagined news crew (led by Kodi Smit-McPhee) or attempting to find her voice again. Her instrument had famously diminished, leaving her wondering what’s left to live for. The only consistent praise she gets is from her obedient housemaid Bruna (Alba Rohrwacher). It’s no secret that the destination is death. And you suspect that she knows quite well that everything will be a big dimmer when her spotlight is turned off.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_7_ze9palm0\u003c/p>\n\u003cp>Larraín has made a lasting mark on cinema with his unofficial trilogy about these famous women with tragic narratives. With \u003cem>Jackie\u003c/em>, \u003cem>Spencer\u003c/em> and now \u003cem>Maria\u003c/em>, his films are also an unintentional antidote to Ryan Murphy’s stranglehold of the grand dames of recent history, which are all style and scandal and little substance. And yet Larraín’s films are not for everyone. If \u003cem>Jackie\u003c/em> and \u003cem>Spencer\u003c/em> did not speak to you, did not show those women as you hoped they would, \u003cem>Maria\u003c/em> will not turn you into a believer. Three movies in, it seems that audiences are either very on board with his vision or not. There is little room for an in between.\u003c/p>\n\u003cp>And yet it’s hard to deny that his films are incredible showcases for actors. Jolie as a movie star is somehow both omnipresent and elusive, and lately she chooses to step in front of the camera all too infrequently. Sometimes you wish she could just follow in Nicole Kidman’s footsteps, for whom quantity does not seem to ever jeopardize quality, and she seems to be having fun doing it all, all the time. Perhaps it’s because performances like Jolie’s in \u003cem>Maria\u003c/em> look so all-consuming.\u003c/p>\n\u003cp>[aside postid='arts_13968437']In the film, Maria scolds a fan for daring to question that she faked sickness to miss a performance. He doesn’t understand the total commitment of body and soul required to make it look effortless, which is probably true. Jolie is not so dramatic, at least publicly, about what it takes to create art. But here the lines blur: Character and actor blend so seamlessly, so ferociously, that you leave not just with heightened empathy for La Callas but Jolie as well.\u003c/p>\n\u003cp>In one of the film’s few regrettable scenes, she’s put face to face with John F. Kennedy (no fault of Caspar Phillipson), whose wife has caught the greedy eye of Onassis. As a testament to the power of Jolie and the script, you almost forgive yet another JFK impersonation for giving her one of the great brushoffs to utter, romantic and withering all at once. Is it all a little much? Of course, but that’s kind of the point of Maria.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Maria’ is out in Bay Area theaters on Nov. 27, 2024, and begins streaming on Netflix on Dec. 11.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Angelina Jolie glides through the final days of Maria Callas’ short life in Pablo Larraín’s \u003cem>Maria\u003c/em>, a dramatic, evocative elegy to the famed soprano. It’s an affair that’s at turns melancholy, biting and grandly theatrical, an aria for a once in a generation star.\u003c/p>\n\u003cp>Reality is of little consequence on the stage and in \u003cem>Maria\u003c/em>. It’s all about the raw feeling, which serves the movie well, more dream than history lesson about La Callas. Early on, she pops some Mandrax and tells her devoted butler Ferruccio (a simply wonderful Pierfrancesco Favino) that a television crew is on the way. Are they real, he wonders.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“As of this morning, what is real and what is not real is my business,” she says calmly and definitively, making a feast out of Steven Knight’s sharp script. It’s one of many great lines and moments for Jolie, whose intensity and resolve belie her fragile appearance. And it’s a signal to the audience as well: Don’t fret about dull facts or that Jolie doesn’t really resemble Callas all that much. This is a biopic as opera — an emotional journey fitting of the great diva, full of flair, beauty, betrayal, revelations and sorrow.\u003c/p>\n\u003cp>In \u003cem>Maria\u003c/em>, we are the companion to a protagonist with an ever-loosening grip on reality, walking with her through Paris, and her life, for one week in September 1977.\u003c/p>\n\u003cp>The images from cinematographer Ed Lachman, playfully shifting in form and style, take us on a scattershot journey through her triumphs on stage, her scandalous romance with Aristotle Onassis (Haluk Bilginer) and her traumatic youth. In the present, at age 53, she sleeps till midday, drinks the minimal calories she ingests, goes to restaurants where the waiters know her name looking for adulation and has visions of performances staged just for her all around the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Callas is always immaculately dressed and assured, whether reflecting to the imagined news crew (led by Kodi Smit-McPhee) or attempting to find her voice again. Her instrument had famously diminished, leaving her wondering what’s left to live for. The only consistent praise she gets is from her obedient housemaid Bruna (Alba Rohrwacher). It’s no secret that the destination is death. And you suspect that she knows quite well that everything will be a big dimmer when her spotlight is turned off.\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/_7_ze9palm0'\n title='//www.youtube.com/embed/_7_ze9palm0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Larraín has made a lasting mark on cinema with his unofficial trilogy about these famous women with tragic narratives. With \u003cem>Jackie\u003c/em>, \u003cem>Spencer\u003c/em> and now \u003cem>Maria\u003c/em>, his films are also an unintentional antidote to Ryan Murphy’s stranglehold of the grand dames of recent history, which are all style and scandal and little substance. And yet Larraín’s films are not for everyone. If \u003cem>Jackie\u003c/em> and \u003cem>Spencer\u003c/em> did not speak to you, did not show those women as you hoped they would, \u003cem>Maria\u003c/em> will not turn you into a believer. Three movies in, it seems that audiences are either very on board with his vision or not. There is little room for an in between.\u003c/p>\n\u003cp>And yet it’s hard to deny that his films are incredible showcases for actors. Jolie as a movie star is somehow both omnipresent and elusive, and lately she chooses to step in front of the camera all too infrequently. Sometimes you wish she could just follow in Nicole Kidman’s footsteps, for whom quantity does not seem to ever jeopardize quality, and she seems to be having fun doing it all, all the time. Perhaps it’s because performances like Jolie’s in \u003cem>Maria\u003c/em> look so all-consuming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the film, Maria scolds a fan for daring to question that she faked sickness to miss a performance. He doesn’t understand the total commitment of body and soul required to make it look effortless, which is probably true. Jolie is not so dramatic, at least publicly, about what it takes to create art. But here the lines blur: Character and actor blend so seamlessly, so ferociously, that you leave not just with heightened empathy for La Callas but Jolie as well.\u003c/p>\n\u003cp>In one of the film’s few regrettable scenes, she’s put face to face with John F. Kennedy (no fault of Caspar Phillipson), whose wife has caught the greedy eye of Onassis. As a testament to the power of Jolie and the script, you almost forgive yet another JFK impersonation for giving her one of the great brushoffs to utter, romantic and withering all at once. Is it all a little much? Of course, but that’s kind of the point of Maria.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Maria’ is out in Bay Area theaters on Nov. 27, 2024, and begins streaming on Netflix on Dec. 11.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After uniting the West Coast with “Not Like Us” earlier this year, Kendrick Lamar has arrived with another anthem, “squabble up.” The standout track from K.Dot’s surprise new album, \u003cem>GNX\u003c/em>, which hit streaming last Friday, is a funky flip of Debbie Deb’s freestyle classic, “When I Hear Music.” Its music video arrived Monday morning, and Lamar packed it with hip-hop culture (and history) references that lean heavily into his hometown of Compton, and also include an homage to the Bay Area.\u003c/p>\n\u003cp>https://youtu.be/fuV4yQWdn_4?si=-PoFOJhHqeb7Utga\u003c/p>\n\u003cp>In the video, Lamar posts up in an empty Victorian living room, rapping nonchalantly in a Dodgers-blue hoodie while scenes unfold around him, like \u003ca href=\"https://www.artnews.com/art-news/news/kendrick-lamar-henry-taylor-stage-sets-music-festival-lollapalooza-2023-1234675862/\">Henry Taylor paintings\u003c/a> brought to life. David Hammond’s red, green and black \u003ca href=\"https://www.moma.org/collection/works/222169\">\u003cem>African American Flag\u003c/em>\u003c/a> hangs on the wall. Dancers c-walk; girls pose in front of a mall-style airbrushed backdrop; and a lowrider hits the hydraulics. Lamar also slips in references to Black pop culture staples, including Isaac Hayes, \u003cem>Soul Train\u003c/em> and the 1993 film \u003cem>Menace II Society\u003c/em>, which features the \u003ca href=\"https://www.kqed.org/arts/13968340/saafir-dead-oakland-rapper-dies-at-54\">late Oakland rapper Saafir\u003c/a>.\u003c/p>\n\u003cp>About 50 seconds in, we see Lamar crack open a book called \u003cem>How to Be More Like Kendrick for Dummies\u003c/em> as Bay Area turf dancers go stupid and ride scraper bikes around him. Local fans might recognize \u003ca href=\"https://www.instagram.com/dmonte_fashion/\">Dmonte\u003c/a>, \u003ca href=\"https://www.instagram.com/icecold3000/?hl=en\">Icecold 3000\u003c/a> and \u003ca href=\"https://www.instagram.com/aktivetf/\">Aktive\u003c/a> of Turf Feinz and \u003ca href=\"https://www.instagram.com/pti_allgold/?hl=en\">Kiing Velo\u003c/a> (a.k.a. All Gold Niinoo) of Best Alive Dance Crew.\u003c/p>\n\u003cp>“Thank you for phuckin wit east Oakland, west Oakland and Richmond,” Icecold wrote on Instagram.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Icecold 3000 tells KQED the opportunity came about when he least expected it. One day, while playing \u003cem>NBA 2K\u003c/em> with friends, he got an Instagram DM from the video’s director, Calmatic. “He said he needed me to come down to L.A. for something. But he couldn’t tell me what it was because he was on a contract,” Icecold says. [aside postid='arts_13932887,arts_13960019']\u003c/p>\n\u003cp>He and Aktive decided to take a chance and drive down. When they arrived on set, they started to notice it was buzzing with industry figures like L.A. rapper G Perico and dancer Storm DeBarge. Among the many L.A. faces, they ran into Velo and Dmonte, who they knew from the turfing scene in the Bay.\u003c/p>\n\u003cp>“Our chemistry was just so, so electric when we were shooting our takes,” Icecold recalls. “I think we shot like 20 takes almost, and they was asking, ‘Did you just meet each other today? How is the chemistry so high?’ So we had to tell them, we from the same area. We grew up around each other.”\u003c/p>\n\u003cp>As for the \u003ca href=\"https://www.kqed.org/arts/13937384/the-original-scraper-bike-team-cruises-on\">scraper bikes\u003c/a>, they weren’t imported from Oakland. The music video production team recreated their signature colorful wheels. “I think they did a good job with the design, down to the clothes they had us wear. They was really trying to capture the actual essence of the hyphy movement [of the 2000s],” Icecold says.\u003c/p>\n\u003cp>Surprisingly enough, Kendrick Lamar was actually not on set with Icecold and the dancers. He was added into the scene after the fact, in post-production.\u003c/p>\n\u003cp>“So it was basically just everybody else [there], like all the other rappers and artists and people connected to him,” says Icecold.\u003c/p>\n\u003cp>Lamar’s nod to an iconic Bay Area dance style is not the first time the hitmaker has referenced the region in his art. He shot his music video for “Alright,” from his pivotal album \u003cem>To Pimp a Butterfly\u003c/em>, on Treasure Island in 2015. More recently, he tapped Vallejo legend E-40 to host his Juneteenth stadium show in L.A. as he made his victory lap after his beef with Drake. “squabble up” is just his latest show of appreciation for the Bay’s contributions to West Coast hip-hop culture.\u003c/p>\n\u003cp>Icecold 3000, who noted his phone’s been blowing up all day, says he walked away from the experience with a deep sense of gratitude. Not just because Kendrick showed love to the Bay, but because the “squabble up” video reminds audiences that dance is a crucial part of hip-hop. He hopes more artists will include turfing in their videos and keep the art alive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Just him showing love to the dance community first and foremost — I love and respect that,” Icecold says. “I think people forget how big the dancers is, and how important the dancers have always been\u003ci>.”\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After uniting the West Coast with “Not Like Us” earlier this year, Kendrick Lamar has arrived with another anthem, “squabble up.” The standout track from K.Dot’s surprise new album, \u003cem>GNX\u003c/em>, which hit streaming last Friday, is a funky flip of Debbie Deb’s freestyle classic, “When I Hear Music.” Its music video arrived Monday morning, and Lamar packed it with hip-hop culture (and history) references that lean heavily into his hometown of Compton, and also include an homage to the Bay Area.\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/fuV4yQWdn_4'\n title='//www.youtube.com/embed/fuV4yQWdn_4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the video, Lamar posts up in an empty Victorian living room, rapping nonchalantly in a Dodgers-blue hoodie while scenes unfold around him, like \u003ca href=\"https://www.artnews.com/art-news/news/kendrick-lamar-henry-taylor-stage-sets-music-festival-lollapalooza-2023-1234675862/\">Henry Taylor paintings\u003c/a> brought to life. David Hammond’s red, green and black \u003ca href=\"https://www.moma.org/collection/works/222169\">\u003cem>African American Flag\u003c/em>\u003c/a> hangs on the wall. Dancers c-walk; girls pose in front of a mall-style airbrushed backdrop; and a lowrider hits the hydraulics. Lamar also slips in references to Black pop culture staples, including Isaac Hayes, \u003cem>Soul Train\u003c/em> and the 1993 film \u003cem>Menace II Society\u003c/em>, which features the \u003ca href=\"https://www.kqed.org/arts/13968340/saafir-dead-oakland-rapper-dies-at-54\">late Oakland rapper Saafir\u003c/a>.\u003c/p>\n\u003cp>About 50 seconds in, we see Lamar crack open a book called \u003cem>How to Be More Like Kendrick for Dummies\u003c/em> as Bay Area turf dancers go stupid and ride scraper bikes around him. Local fans might recognize \u003ca href=\"https://www.instagram.com/dmonte_fashion/\">Dmonte\u003c/a>, \u003ca href=\"https://www.instagram.com/icecold3000/?hl=en\">Icecold 3000\u003c/a> and \u003ca href=\"https://www.instagram.com/aktivetf/\">Aktive\u003c/a> of Turf Feinz and \u003ca href=\"https://www.instagram.com/pti_allgold/?hl=en\">Kiing Velo\u003c/a> (a.k.a. All Gold Niinoo) of Best Alive Dance Crew.\u003c/p>\n\u003cp>“Thank you for phuckin wit east Oakland, west Oakland and Richmond,” Icecold wrote on Instagram.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Icecold 3000 tells KQED the opportunity came about when he least expected it. One day, while playing \u003cem>NBA 2K\u003c/em> with friends, he got an Instagram DM from the video’s director, Calmatic. “He said he needed me to come down to L.A. for something. But he couldn’t tell me what it was because he was on a contract,” Icecold says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He and Aktive decided to take a chance and drive down. When they arrived on set, they started to notice it was buzzing with industry figures like L.A. rapper G Perico and dancer Storm DeBarge. Among the many L.A. faces, they ran into Velo and Dmonte, who they knew from the turfing scene in the Bay.\u003c/p>\n\u003cp>“Our chemistry was just so, so electric when we were shooting our takes,” Icecold recalls. “I think we shot like 20 takes almost, and they was asking, ‘Did you just meet each other today? How is the chemistry so high?’ So we had to tell them, we from the same area. We grew up around each other.”\u003c/p>\n\u003cp>As for the \u003ca href=\"https://www.kqed.org/arts/13937384/the-original-scraper-bike-team-cruises-on\">scraper bikes\u003c/a>, they weren’t imported from Oakland. The music video production team recreated their signature colorful wheels. “I think they did a good job with the design, down to the clothes they had us wear. They was really trying to capture the actual essence of the hyphy movement [of the 2000s],” Icecold says.\u003c/p>\n\u003cp>Surprisingly enough, Kendrick Lamar was actually not on set with Icecold and the dancers. He was added into the scene after the fact, in post-production.\u003c/p>\n\u003cp>“So it was basically just everybody else [there], like all the other rappers and artists and people connected to him,” says Icecold.\u003c/p>\n\u003cp>Lamar’s nod to an iconic Bay Area dance style is not the first time the hitmaker has referenced the region in his art. He shot his music video for “Alright,” from his pivotal album \u003cem>To Pimp a Butterfly\u003c/em>, on Treasure Island in 2015. More recently, he tapped Vallejo legend E-40 to host his Juneteenth stadium show in L.A. as he made his victory lap after his beef with Drake. “squabble up” is just his latest show of appreciation for the Bay’s contributions to West Coast hip-hop culture.\u003c/p>\n\u003cp>Icecold 3000, who noted his phone’s been blowing up all day, says he walked away from the experience with a deep sense of gratitude. Not just because Kendrick showed love to the Bay, but because the “squabble up” video reminds audiences that dance is a crucial part of hip-hop. He hopes more artists will include turfing in their videos and keep the art alive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Just him showing love to the dance community first and foremost — I love and respect that,” Icecold says. “I think people forget how big the dancers is, and how important the dancers have always been\u003ci>.”\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-holiday-gifts-for-music-lovers-christmas-2024",
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"content": "\u003cp>Music fans should be easy to shop for this holiday season, right?\u003c/p>\n\u003cp>[aside postid='arts_13968478']Wrong! What do you pick up for the friend who knew about that rapper months before the rest of the world? What about the audiophile, whose listening habits are particular and immovable? Your sister loves Taylor Swift, but surely she already owns everything the pop star has ever released, right?\u003c/p>\n\u003cp>Here’s a gift guide for the audio lover in your life — from a can’t-miss box set for the Elvis Costello obsessive to a set of wine glasses that will be music to everyone’s ears.\u003c/p>\n\u003ch2>Play it by … wine\u003c/h2>\n\u003cp>Chances are, you’ve seen someone play water glasses before — rubbing the rim of a glass with a finger can produce musical notes, which change depending on how full the glass is. Uncommon Goods has taken the idea a step further: What if, instead of water glasses, you used wine? And what if there was a way to determine which notes could be produced, by marking each glass like a measuring cup? Well, that’s exactly what they did. Compose a symphony of one with these wine glasses. $68.\u003c/p>\n\u003ch2>Clear the way\u003c/h2>\n\u003cp>A recent trend in venue security is the clear-bag policy. The goal is to streamline bag checks upon entry, making the process safer and faster. If you’re looking for a great gift for a loved one who plans their life around stadium and arena shows, look no further. The clear bag is an alternative to shoving everything in your pockets and clutching your smartphone to your palm. Herschel has a few reasonably priced bags that are practical, stylish and will meet most venue guidelines. $35.\u003c/p>\n\u003ch2>Elvis Costello has entered the building\u003c/h2>\n\u003cfigure id=\"attachment_13968550\" class=\"wp-caption aligncenter\" style=\"max-width: 1124px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18%E2%80%AFPM.png\" alt=\"An album cover featuring a white man wearing a denim jacket and an elaborate crown.\" width=\"1124\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM.png 1124w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM-800x767.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM-1020x978.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM-160x153.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM-768x737.png 768w\" sizes=\"(max-width: 1124px) 100vw, 1124px\">\u003cfigcaption class=\"wp-caption-text\">‘King Of America & Other Realms,’ by Elvis Costello. \u003ccite>(UMe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new six-disc Elvis Costello box set, \u003cem>King Of America & Other Realms\u003c/em>, has what you’d expect from a revisit to Costello’s 1986 \u003cem>King of America\u003c/em> album — a remastered version of the original, demos of most songs, a live concert from the era, even some newly recorded takes. The \u003cem>Other Realms\u003c/em> is what sets it apart. Building on the original album’s roots-based theme, half of the set explores other Costello recording adventures in the United States — many from the 2000s — with alternate versions and previously unreleased tracks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Highlights are duets with Lucinda Williams and Emmylou Harris, and the often overlooked “April 5th” song with Rosanne Cash and the late Kris Kristofferson. Inventive and full of buried treasures, the box is an enriching look back — and a great gift. $139.98.\u003c/p>\n\u003ch2>Learn Korean!\u003c/h2>\n\u003cp>There’s no better gift to give or receive than one that expands horizons. In \u003cem>Learn! Korean with BTS\u003c/em>, K-pop fans can discover a new language through their love of BTS and members Jin, Suga, J-Hope, RM, Jimin, V and Jungkook. The book package teaches Korean consonants and vowels, using the names and songs of BTS. A workbook is supplemented by video and other media. What could be better — or more rewarding — for the K-pop fan? $44.49.\u003c/p>\n\u003ch2>Loud and proud\u003c/h2>\n\u003cp>A decent pair of headphones is step one on the journey to true bliss for the audiophile. However, carrying around a studio set may not always be in the cards. But a noise-canceling pair? That’s necessary. Bose’s QuietComfort Headphones are a solid investment, all high-fidelity audio perfect for a long plane ride or a daily commute in equal measure. $229.\u003c/p>\n\u003ch2>For the soul\u003c/h2>\n\u003cfigure id=\"attachment_13968549\" class=\"wp-caption aligncenter\" style=\"max-width: 1370px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968549\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising.png\" alt=\"A yellow book cover featuring the members of De La Soul as they looked in the 1980s.\" width=\"1370\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising.png 1370w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-1020x1489.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-768x1121.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-1052x1536.png 1052w\" sizes=\"(max-width: 1370px) 100vw, 1370px\">\u003cfigcaption class=\"wp-caption-text\">‘High and Rising: A Book About De La Soul’ by Marcus J. Moore. \u003ccite>(Dey Street Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music books are always a good idea. For the hip-hop expert, a new text from the critic Marcus J. Moore, \u003cem>High and Rising: A Book About De La Soul\u003c/em>, is a necessary cultural history of the hip-hop trio of Kelvin “Posdnuos” Mercer, Dave “Trugoy the Dove” Jolicoeur and Vincent “Maseo” Mason, who changed music forever. The book covers their ascent, and the ways in which the group defied expectations and defined a new Black alternative music, as well as the legal troubles they faced. $27.89.\u003c/p>\n\u003ch2>For the Swifties\u003c/h2>\n\u003cp>Everyone knows someone who loves Taylor Swift. But what do you give the superfan who already owns all her albums in every colorway? Unisex jewelry, maybe? In honor of this year’s release of \u003cem>The Tortured Poets Department\u003c/em>, get them the official gold-plated, stainless-steel, chain-link bracelet featuring the “TTPD” logo on the pop star’s website. It comes in two sizes: a small/medium option, 7.5 inches long, and a large/extra-large option, 8.5 inches long. $40.\u003c/p>\n\u003ch2>Get up and go\u003c/h2>\n\u003cp>Pop-punk band Green Day’s coffee brand, Punk Bunny Coffee, is ideal for fans of their palm-muted power chords and political anthems — and for those who prefer their morning brew to be organic, fair trade and delicious. This holiday season, they’re offering a few limited-edition roasts, including some themed after their best-known albums, like \u003cem>Dookie\u003c/em> and \u003cem>American Idiot\u003c/em>. If coffee isn’t preferable, no worries! They’ve got a limited-edition hot cocoa, too. $13.99-$17.99.\u003c/p>\n\u003ch2>Take a trip to West Germany\u003c/h2>\n\u003cfigure id=\"attachment_13968548\" class=\"wp-caption aligncenter\" style=\"max-width: 1302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968548\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu.png\" alt=\"A book cover featuring an angular 3-D rectangular shape with two thin tubes within.\" width=\"1302\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu.png 1302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-800x1229.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-1020x1567.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-768x1180.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-1000x1536.png 1000w\" sizes=\"(max-width: 1302px) 100vw, 1302px\">\u003cfigcaption class=\"wp-caption-text\">‘Neu Klang: The Definitive History of Krautrock’ by Christoph Dallach. \u003ccite>(Faber & Faber via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s be honest: True music lovers enjoy all different genres and styles. Those with the deepest knowledge are insatiable; they want to learn as much as they can about a variety of different subcultures and niches. For those real ones, the best gift this holiday season is the first ever oral history of Krautrock, Christoph Dallach’s \u003cem>Neu Klang: The Definitive History of Krautrock\u003c/em>, featuring German bands like Can, Neu!, Amon Düül, Popul Vuh, Tangerine Dream, Faust, Cluster and, of course, Kraftwerk. $29.80.\u003c/p>\n\u003ch2>Lights out and away we go\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There’s never a wrong time to buy Bad Bunny merchandise. And there’s really never a time to buy Bad Bunny merch when it is themed after his blockbuster single “Monaco” and features Formula 1 iconography. The pinnacle of motorsports is growing in popularity globally, so if you know someone who loves both reggaeton and Sergio “Checo” Pérez — and who doesn’t? — Bad Bunny’s concert T-shirts are at the intersection of both. $55.\u003c/p>\n\n",
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"excerpt": "Not all music gifts have to be albums. Why not pick up some Green Day coffee, Taylor Swift jewelry or BTS Korean lessons? ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music fans should be easy to shop for this holiday season, right?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wrong! What do you pick up for the friend who knew about that rapper months before the rest of the world? What about the audiophile, whose listening habits are particular and immovable? Your sister loves Taylor Swift, but surely she already owns everything the pop star has ever released, right?\u003c/p>\n\u003cp>Here’s a gift guide for the audio lover in your life — from a can’t-miss box set for the Elvis Costello obsessive to a set of wine glasses that will be music to everyone’s ears.\u003c/p>\n\u003ch2>Play it by … wine\u003c/h2>\n\u003cp>Chances are, you’ve seen someone play water glasses before — rubbing the rim of a glass with a finger can produce musical notes, which change depending on how full the glass is. Uncommon Goods has taken the idea a step further: What if, instead of water glasses, you used wine? And what if there was a way to determine which notes could be produced, by marking each glass like a measuring cup? Well, that’s exactly what they did. Compose a symphony of one with these wine glasses. $68.\u003c/p>\n\u003ch2>Clear the way\u003c/h2>\n\u003cp>A recent trend in venue security is the clear-bag policy. The goal is to streamline bag checks upon entry, making the process safer and faster. If you’re looking for a great gift for a loved one who plans their life around stadium and arena shows, look no further. The clear bag is an alternative to shoving everything in your pockets and clutching your smartphone to your palm. Herschel has a few reasonably priced bags that are practical, stylish and will meet most venue guidelines. $35.\u003c/p>\n\u003ch2>Elvis Costello has entered the building\u003c/h2>\n\u003cfigure id=\"attachment_13968550\" class=\"wp-caption aligncenter\" style=\"max-width: 1124px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18%E2%80%AFPM.png\" alt=\"An album cover featuring a white man wearing a denim jacket and an elaborate crown.\" width=\"1124\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM.png 1124w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM-800x767.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM-1020x978.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM-160x153.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM-768x737.png 768w\" sizes=\"(max-width: 1124px) 100vw, 1124px\">\u003cfigcaption class=\"wp-caption-text\">‘King Of America & Other Realms,’ by Elvis Costello. \u003ccite>(UMe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new six-disc Elvis Costello box set, \u003cem>King Of America & Other Realms\u003c/em>, has what you’d expect from a revisit to Costello’s 1986 \u003cem>King of America\u003c/em> album — a remastered version of the original, demos of most songs, a live concert from the era, even some newly recorded takes. The \u003cem>Other Realms\u003c/em> is what sets it apart. Building on the original album’s roots-based theme, half of the set explores other Costello recording adventures in the United States — many from the 2000s — with alternate versions and previously unreleased tracks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Highlights are duets with Lucinda Williams and Emmylou Harris, and the often overlooked “April 5th” song with Rosanne Cash and the late Kris Kristofferson. Inventive and full of buried treasures, the box is an enriching look back — and a great gift. $139.98.\u003c/p>\n\u003ch2>Learn Korean!\u003c/h2>\n\u003cp>There’s no better gift to give or receive than one that expands horizons. In \u003cem>Learn! Korean with BTS\u003c/em>, K-pop fans can discover a new language through their love of BTS and members Jin, Suga, J-Hope, RM, Jimin, V and Jungkook. The book package teaches Korean consonants and vowels, using the names and songs of BTS. A workbook is supplemented by video and other media. What could be better — or more rewarding — for the K-pop fan? $44.49.\u003c/p>\n\u003ch2>Loud and proud\u003c/h2>\n\u003cp>A decent pair of headphones is step one on the journey to true bliss for the audiophile. However, carrying around a studio set may not always be in the cards. But a noise-canceling pair? That’s necessary. Bose’s QuietComfort Headphones are a solid investment, all high-fidelity audio perfect for a long plane ride or a daily commute in equal measure. $229.\u003c/p>\n\u003ch2>For the soul\u003c/h2>\n\u003cfigure id=\"attachment_13968549\" class=\"wp-caption aligncenter\" style=\"max-width: 1370px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968549\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising.png\" alt=\"A yellow book cover featuring the members of De La Soul as they looked in the 1980s.\" width=\"1370\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising.png 1370w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-1020x1489.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-768x1121.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-1052x1536.png 1052w\" sizes=\"(max-width: 1370px) 100vw, 1370px\">\u003cfigcaption class=\"wp-caption-text\">‘High and Rising: A Book About De La Soul’ by Marcus J. Moore. \u003ccite>(Dey Street Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music books are always a good idea. For the hip-hop expert, a new text from the critic Marcus J. Moore, \u003cem>High and Rising: A Book About De La Soul\u003c/em>, is a necessary cultural history of the hip-hop trio of Kelvin “Posdnuos” Mercer, Dave “Trugoy the Dove” Jolicoeur and Vincent “Maseo” Mason, who changed music forever. The book covers their ascent, and the ways in which the group defied expectations and defined a new Black alternative music, as well as the legal troubles they faced. $27.89.\u003c/p>\n\u003ch2>For the Swifties\u003c/h2>\n\u003cp>Everyone knows someone who loves Taylor Swift. But what do you give the superfan who already owns all her albums in every colorway? Unisex jewelry, maybe? In honor of this year’s release of \u003cem>The Tortured Poets Department\u003c/em>, get them the official gold-plated, stainless-steel, chain-link bracelet featuring the “TTPD” logo on the pop star’s website. It comes in two sizes: a small/medium option, 7.5 inches long, and a large/extra-large option, 8.5 inches long. $40.\u003c/p>\n\u003ch2>Get up and go\u003c/h2>\n\u003cp>Pop-punk band Green Day’s coffee brand, Punk Bunny Coffee, is ideal for fans of their palm-muted power chords and political anthems — and for those who prefer their morning brew to be organic, fair trade and delicious. This holiday season, they’re offering a few limited-edition roasts, including some themed after their best-known albums, like \u003cem>Dookie\u003c/em> and \u003cem>American Idiot\u003c/em>. If coffee isn’t preferable, no worries! They’ve got a limited-edition hot cocoa, too. $13.99-$17.99.\u003c/p>\n\u003ch2>Take a trip to West Germany\u003c/h2>\n\u003cfigure id=\"attachment_13968548\" class=\"wp-caption aligncenter\" style=\"max-width: 1302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968548\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu.png\" alt=\"A book cover featuring an angular 3-D rectangular shape with two thin tubes within.\" width=\"1302\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu.png 1302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-800x1229.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-1020x1567.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-768x1180.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-1000x1536.png 1000w\" sizes=\"(max-width: 1302px) 100vw, 1302px\">\u003cfigcaption class=\"wp-caption-text\">‘Neu Klang: The Definitive History of Krautrock’ by Christoph Dallach. \u003ccite>(Faber & Faber via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s be honest: True music lovers enjoy all different genres and styles. Those with the deepest knowledge are insatiable; they want to learn as much as they can about a variety of different subcultures and niches. For those real ones, the best gift this holiday season is the first ever oral history of Krautrock, Christoph Dallach’s \u003cem>Neu Klang: The Definitive History of Krautrock\u003c/em>, featuring German bands like Can, Neu!, Amon Düül, Popul Vuh, Tangerine Dream, Faust, Cluster and, of course, Kraftwerk. $29.80.\u003c/p>\n\u003ch2>Lights out and away we go\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s never a wrong time to buy Bad Bunny merchandise. And there’s really never a time to buy Bad Bunny merch when it is themed after his blockbuster single “Monaco” and features Formula 1 iconography. The pinnacle of motorsports is growing in popularity globally, so if you know someone who loves both reggaeton and Sergio “Checo” Pérez — and who doesn’t? — Bad Bunny’s concert T-shirts are at the intersection of both. $55.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The brooding waltz was carefully composed on a sheet of music roughly the size of an index card. The brief, moody number also bore an intriguing name, written at the top in cursive: “Chopin.”\u003c/p>\n\u003cp>A previously unknown work of music penned by the European master Frederic Chopin appears to have been found at the Morgan Library & Museum in Manhattan.\u003c/p>\n\u003cp>[aside postid='arts_13967421']The untitled and unsigned piece is on display this month at the opulently appointed institution, which had once been the private library of financier J. P. Morgan.\u003c/p>\n\u003cp>Robinson McClellan, the museum curator who uncovered the manuscript, said it’s the first new work associated with the Romantic era composer to be discovered in nearly a century.\u003c/p>\n\u003cp>But McClellan concedes that it may never be known whether it is an original Chopin work or merely one written in his hand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The piece, set in the key of A minor, stands out for its “very stormy, brooding opening section” before transitioning to a melancholy melody more characteristic of Chopin, McClellan explained.\u003c/p>\n\u003cp>“This is his style. This is his essence,” he said during a recent visit to the museum. “It really feels like him.”\u003c/p>\n\u003cp>McClellan said he came across the work in May as he was going through a collection from the late Arthur Satz, a former president of the New York School of Interior Design. Satz had acquired it from A. Sherrill Whiton Jr., an avid autograph collector who had been director of the school.\u003c/p>\n\u003cp>McClellan then worked with experts to verify its authenticity.\u003c/p>\n\u003cp>The paper was found to be consistent with what Chopin favored for manuscripts, and the ink matched a kind typical in the early 19th century when Chopin lived, according to the museum. But a handwriting analysis determined the name “Chopin” written at the top of the sheet was penned by someone else.\u003c/p>\n\u003cp>Born in Poland, Chopin was considered a musical genius from an early age. He lived in Warsaw and Vienna before settling in Paris, where he died in 1849 at the age of 39, likely of tuberculosis.\u003c/p>\n\u003cp>He’s buried among a pantheon of artists at the city’s famed Père Lachaise Cemetery, but his heart, pickled in a jar of alcohol, is housed in a church in Warsaw, in keeping with his deathbed wish for the organ to return to his homeland.\u003c/p>\n\u003cp>[aside postid='arts_13968348']Artur Szklener, director of the Fryderyk Chopin Institute in Warsaw, the Polish capital city where the composer grew up, agreed that the document is consistent with the kinds of ink and paper Chopin used during his early years in Paris.\u003c/p>\n\u003cp>Musically, the piece evokes the “brilliant style” that made Chopin a luminary in his time, but it also has features unusual for his compositions, Szklener said.\u003c/p>\n\u003cp>“First of all, it is not a complete work, but rather a certain musical gesture, a theme laced with rather simple piano tricks alluding to a virtuoso style,” Szklener explained in a lengthy statement released after the document was revealed last month.\u003c/p>\n\u003cp>He and other experts conjecture the piece could have been a work in progress. It may have also been a copy of another’s work, or even co-written with someone else, perhaps a student for a musical exercise.\u003c/p>\n\u003cp>Jeffrey Kallberg, a University of Pennsylvania music professor and Chopin expert who helped authenticate the document, called the piece a “little gem” that Chopin likely intended as a gift for a friend or wealthy acquaintance.\u003c/p>\n\u003cp>“Many of the pieces that he gave as gifts were short — kind of like ‘appetizers’ to a full-blown work,” Kallberg said in an email. “And we don’t know for sure whether he intended the piece to see the light of day because he often wrote out the same waltz more than once as a gift.”\u003c/p>\n\u003cp>David Ludwig, dean of music at The Juilliard School, a performing arts conservatory in Manhattan, agreed the piece has many of the hallmarks of the composer’s style.\u003c/p>\n\u003cp>“It has the Chopin character of something very lyrical and it has a little bit of darkness as well,” said Ludwig, who was not involved in authenticating the document.\u003c/p>\n\u003cp>But Ludwig noted that, if it’s authentic, the tightly composed score would be one of Chopin’s shortest known pieces. The waltz clocks in at under a minute long when played on piano, as many of Chopin’s works were intended.\u003c/p>\n\u003cp>[aside postid='arts_13968322']“In terms of the authenticity of it, in a way it doesn’t matter because it sparks our imaginations,” Ludwig said. “A discovery like this highlights the fact that classical music is very much a living art form.”\u003c/p>\n\u003cp>The Chopin reveal comes after the Leipzig Municipal Libraries in Germany announced in September that it had uncovered a previously unknown piece likely composed by a young Wolfgang Amadeus Mozart in its collections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press video journalist John Minchillo in New York contributed to this story.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Artur Szklener, director of the Fryderyk Chopin Institute in Warsaw, the Polish capital city where the composer grew up, agreed that the document is consistent with the kinds of ink and paper Chopin used during his early years in Paris.\u003c/p>\n\u003cp>Musically, the piece evokes the “brilliant style” that made Chopin a luminary in his time, but it also has features unusual for his compositions, Szklener said.\u003c/p>\n\u003cp>“First of all, it is not a complete work, but rather a certain musical gesture, a theme laced with rather simple piano tricks alluding to a virtuoso style,” Szklener explained in a lengthy statement released after the document was revealed last month.\u003c/p>\n\u003cp>He and other experts conjecture the piece could have been a work in progress. It may have also been a copy of another’s work, or even co-written with someone else, perhaps a student for a musical exercise.\u003c/p>\n\u003cp>Jeffrey Kallberg, a University of Pennsylvania music professor and Chopin expert who helped authenticate the document, called the piece a “little gem” that Chopin likely intended as a gift for a friend or wealthy acquaintance.\u003c/p>\n\u003cp>“Many of the pieces that he gave as gifts were short — kind of like ‘appetizers’ to a full-blown work,” Kallberg said in an email. “And we don’t know for sure whether he intended the piece to see the light of day because he often wrote out the same waltz more than once as a gift.”\u003c/p>\n\u003cp>David Ludwig, dean of music at The Juilliard School, a performing arts conservatory in Manhattan, agreed the piece has many of the hallmarks of the composer’s style.\u003c/p>\n\u003cp>“It has the Chopin character of something very lyrical and it has a little bit of darkness as well,” said Ludwig, who was not involved in authenticating the document.\u003c/p>\n\u003cp>But Ludwig noted that, if it’s authentic, the tightly composed score would be one of Chopin’s shortest known pieces. The waltz clocks in at under a minute long when played on piano, as many of Chopin’s works were intended.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“In terms of the authenticity of it, in a way it doesn’t matter because it sparks our imaginations,” Ludwig said. “A discovery like this highlights the fact that classical music is very much a living art form.”\u003c/p>\n\u003cp>The Chopin reveal comes after the Leipzig Municipal Libraries in Germany announced in September that it had uncovered a previously unknown piece likely composed by a young Wolfgang Amadeus Mozart in its collections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press video journalist John Minchillo in New York contributed to this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "political-art-2024-trump-presidency",
"title": "What’s the Use of ‘Political Art’ in 2024?",
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"headTitle": "What’s the Use of ‘Political Art’ in 2024? | KQED",
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"content": "\u003cp>Who could forget the \u003ca href=\"https://www.glamour.com/story/the-story-behind-the-pussyhats-at-the-womens-march\">pussy hats\u003c/a>, the colorful \u003ca href=\"https://www.glamour.com/gallery/how-to-create-the-best-damn-anti-trump-protest-sign-ever-a-complete-guide\">protest banners\u003c/a>, the \u003ca href=\"https://www.kqed.org/pop/33376/so-theres-a-naked-donald-trump-statue-in-the-castro-now-nsfw\">nude statues\u003c/a> and \u003ca href=\"https://www.bbc.com/culture/article/20160518-what-does-the-trumpputin-kiss-really-mean\">subversive murals\u003c/a> of the first Trump administration?\u003c/p>\n\u003cp>Voters, apparently.\u003c/p>\n\u003cp>[aside postID='news_12014032']Despite a surge in art-as-resistance eight years ago — hailed as crucial in the fight to defeat Trump once and for all — America is back where it started in 2016, give or take a few \u003ca href=\"https://apnews.com/article/trump-charlottesville-college-protests-gaza-biden-antisemitism-b19a1ae593b076d5314f08549b1b0d7b\">racist marches\u003c/a>, \u003ca href=\"https://www.npr.org/2024/11/17/nx-s1-5192608/idahos-abortion-ban-one-of-the-strictest-in-the-u-s-is-being-challenged-in-court\">abortion bans\u003c/a> and \u003ca href=\"https://www.npr.org/2024/05/30/1198912466/in-a-historic-verdict-trump-found-guilty-on-34-felony-counts-in-hush-money-trial\">felony counts\u003c/a>.\u003c/p>\n\u003cp>And while the stakes for the future of the country are unquestionably higher this time around, artist reaction has been conspicuously subdued. Not only are activists organizing \u003ca href=\"https://www.kqed.org/news/12014032/dispirited-and-humbled-the-conspicuous-absence-of-bay-area-protests-after-trumps-win\">far fewer protests\u003c/a>, there’s noticeably less anti-Trump art. Yes, even in the Bay Area.\u003c/p>\n\u003cp>How could that be? Well, it depends on who you ask.\u003c/p>\n\u003cfigure id=\"attachment_13968235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists.jpg\" alt=\"A man in a black hoodie and tan pants stands among a cluttered studio space, looking up at the camera.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brent Lindsay, Artistic Director for the Imaginists Theatre Collective in Santa Rosa, pictured backstage on Nov. 18, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It feels to me like everyone just got wiped out,” said Brent Lindsay, artistic director of the Imaginists Theatre Collective in Santa Rosa, of the relative quiet from artists, post-election. “Everyone’s just — I don’t know about \u003ci>retreating\u003c/i>, but everyone’s sort of going deep. Having to. And I don’t know what’s on the other side of that.”\u003c/p>\n\u003ch2>A time of reorientation\u003c/h2>\n\u003cp>Lindsay is no stranger to explicitly political art. In 2017, the Imaginists presented \u003ci>Stop That Show!\u003c/i>, a \u003ca href=\"https://theimaginists.org/aimsarchive\">bicycle-powered, bilingual outdoor satire\u003c/a> squarely aimed at the Trump White House. Lindsay played “President Corn,” in a disheveled blonde wig and Russian-branded garb.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was good in that we all needed to find joy in some darkness, and we all needed to find a way out, shake it off, be entertained,” Lindsay said, acknowledging that the show was more a balm than a weapon of resistance.\u003c/p>\n\u003cp>No one can predict exactly what the next four years will bring from the arts sector. But Lindsay believes that alongside explicitly political art, the world may see more politically informed work based in storytelling and emotional resonance.\u003c/p>\n\u003cp>“You need both,” Lindsay said. “We need the bombastic, the in-your-face, the revolutionary. And this may be a silly analogy, but we need the bunny slope. Because we need new people coming and trying it, and working their way up.”\u003c/p>\n\u003cfigure id=\"attachment_13887378\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN.jpg\" alt=\"W. Kamau Bell\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell in 2020. \u003ccite>(John Nowack/CNN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At \u003ca href=\"https://oaklandside.org/culture-makers/\">Oaklandside’s Culture Makers\u003c/a> panel on Nov. 14, comedian W. Kamau Bell, who endorsed Kamala Harris, was optimistic about the next era of direct political art.\u003c/p>\n\u003cp>“There’s going to be a type of artist now who’s going to be much more clear than they were in the past,” Bell said. “It’s an invitation to be much more clear on what the message is, what your goals are, to have art that actually points towards the change. I think it’s going to be a wave of really classic-era, political [art] — the right side of propaganda, pointing to the right side of history.”\u003c/p>\n\u003cp>Bell’s friend and colleague Favianna Rodriguez is the founder of the \u003ca href=\"https://www.culturalpower.org/\">Center for Cultural Power\u003c/a>, an organization that supports artists and arms people with artistic tools for resistance. In 2017, in opposition to Trump’s Muslim ban, Rodriguez’s series \u003ci>\u003ca href=\"https://favianna.com/artworks/migration-is-beautiful-2018?\">Migration Is Beautiful\u003c/a>\u003c/i> surged in visibility. Climate justice and reproductive rights have also been prominent themes in her work.\u003c/p>\n\u003cp>“I have seen both a moment of reflection, and a moment of reorientation,” Rodriguez said of the weeks following the election. “Our response as artists is going to take some time for us to get organized. But I do trust that artists are going to rise up and create work, and be angry and bold.”\u003c/p>\n\u003cfigure id=\"attachment_13881312\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42.jpg\" alt=\"Woman in red outfit with microphone\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-1020x681.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Favianna Rodriguez speaking in 2020. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artists, Rodriguez asserts, have the power to change cultural narratives, which in turn shape political narratives.\u003c/p>\n\u003cp>“We can show the humanity,” she says. “We can help normalize things that were once seen as rare. We can help tell human stories that move people’s hearts.”\u003c/p>\n\u003ch2>‘Not just an attack against Trump’\u003c/h2>\n\u003cp>Pianist, hip-hop artist and member of Oakland’s Cultural Affairs Commission Kev Choice says he’s angry and disappointed about Trump winning the presidency. He’s also contending with how many in his community — people who care about social justice and want an end to U.S. military aid to Israel — disengaged from the election.\u003c/p>\n\u003cp>[aside postID='arts_13967557']He sees a disillusionment with the Democratic party’s role in the devastation in Gaza, as well as with the two-party system. Choice was just as disappointed with Trump’s victory as he was with progressive propositions, like rent control, failing in California.\u003c/p>\n\u003cp>“I’ve been sitting with how to address it on all fronts, not just an attack against Trump, but just our general engagement in politics and how we can be more impactful — and have just honest conversations about what it means to even be engaged,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13964204\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964204\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says he’s working on a song that airs out his community’s disappointment and grief over the election results, but he’s also looking beyond music. “Music is one thing, but supporting grassroots organizations to get people to register to vote, who will get people to campaign for certain measures or props — the day to day things that it takes to win a campaign,” he says. “It’s not always the flashy notoriety, like being on TV or releasing a song. It’s phone banking, canvassing, calling, traveling to other areas — and also bringing up those issues constantly in the art that we create.”\u003c/p>\n\u003cp>Filmmaker Josh Healey has advocated for a permanent ceasefire in Gaza with his podcast, \u003ca href=\"https://www.offsidesproductions.org/portfolio/friday-night-semites/\">Friday Night Semites\u003c/a>, and organizing with Jewish Voice for Peace and beyond. His work, including the comedy series \u003ci>The North Pole\u003c/i>, has also addressed class issues such as gentrification.\u003c/p>\n\u003cp>“I think the next couple of years we are going to see — and some of the people in this room are going to make — some of the dopest and most powerful art we’ve seen,” Healey said at Oaklandside’s Culture Makers panel.\u003c/p>\n\u003cfigure id=\"attachment_13808051\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg\" alt=\"woman and man pose with polar bear\" width=\"2048\" height=\"1367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Ericka Huggins and producer Josh Healy at the premiere for ‘The North Pole’ at the Grand Lake Theater in Oakland, Sept. 7, 2017. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where I’m at as a filmmaker is not just ‘fuck Trump’ and whatever local billionaires are running these campaigns,” he continued, “but also, Hollywood is done. And I’m ready to actually celebrate that. And what I mean by that is not the death of filmmaking, but the death of capitalist, consumerist — the normalization. So many of the stories of what is normalized comes from arts and culture. And so that is my responsibility, and our responsibility.”\u003c/p>\n\u003ch2>Artists shifting to the right\u003c/h2>\n\u003cp>Supporting Trump was more taboo among artists during his first administration, but with rappers like Kanye West, Sexyy Red, Kodak Black and Azealia Banks backing Trump, some observers see a rightward turn in the entertainment industry.\u003c/p>\n\u003cfigure id=\"attachment_13968405\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968405\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop artist, writer and TikTok creator Maddy Clifford organizes for student debt abolition with Debt Collective. \u003ccite>(Courtesy Vanessa 'AGANA' Espinoza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Culture Makers panel, hip-hop artist and organizer Maddy Clifford, who campaigns for student debt abolition with Debt Collective, talked about this shift.\u003c/p>\n\u003cp>“I think a lot of the country will go to the right, let’s be honest about that,” said Clifford, who has contributed to KQED as a cultural critic. “And so it’s going to be more important than ever for us to be really righteous and really stand in our solid values, because there’s going to be a lot of pressure to basically sell out, straight up.” [aside postID='arts_13930867']\u003c/p>\n\u003cp>Clifford looked beyond Trump’s candidacy — which made gains with young men — and pointed towards conservative trends in culture, name-checking social media movements that promote conservative gender roles and normalize misogyny. “People are like, ‘How did this happen?’” she said. “Well, what about trad wife content? What about the manosphere? This has been happening for a long time.”\u003c/p>\n\u003ch2>Déjà vu\u003c/h2>\n\u003cp>”We’ve been here before,” says \u003ca href=\"https://www.angelahennessy.com/\">Angela Hennessy\u003c/a>, an Oakland visual artist and California College of the Arts professor. Hennessy, whose work will be shown at the San Francisco Museum of Modern Art in the \u003ca href=\"https://www.kqed.org/arts/13955864/sfmoma-2024-seca-art-award-announcement\">2024 SECA Art Award Exhibition\u003c/a>, says this is déjà vu.\u003c/p>\n\u003cp>She’s more surprised that people are surprised. “This \u003ci>is\u003c/i> America,” Hennessy wrote in an email to KQED.\u003c/p>\n\u003cfigure id=\"attachment_13812676\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg\" alt=\"Angela Hennessy, 'Black Rainbow,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy, ‘Black Rainbow,’ 2017. \u003ccite>(Courtesy of the artist and Southern Exposure; photo by Raheleh (Minoosh) Zomorodinia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13955864']Hennessy, a survivor of gun violence, uses hair weaving and braiding in her artwork as she navigates the connections between loss and liberation, death and despair, grieving and growing. She says that given her subject matter, her art is always political. And in this moment, Hennessy wrote, “My work can be seen as responding to the death machine that is our country.”\u003c/p>\n\u003cp>Hennessy asks people to read beyond the \u003ca href=\"https://www.thenation.com/article/archive/no-place-self-pity-no-room-fear/\">popular Toni Morrison quote\u003c/a>, “This is precisely the time when artists go to work,” and see that the late author was making the connection between chaos and the potential of art as a kind of wisdom.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In this moment, “the opportunity,” Hennessy wrote, “is to be more brave, more unapologetic and articulate in knowing what we know. To make art, music, poetry, etc. as if something was at stake.”\u003c/p>\n\n",
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"title": "What’s the Use of ‘Political Art’ in 2024? | KQED",
"description": "The first Trump presidency spawned an abundance of art-as-resistance. The next four years could look very different. ",
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"headline": "What’s the Use of ‘Political Art’ in 2024?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who could forget the \u003ca href=\"https://www.glamour.com/story/the-story-behind-the-pussyhats-at-the-womens-march\">pussy hats\u003c/a>, the colorful \u003ca href=\"https://www.glamour.com/gallery/how-to-create-the-best-damn-anti-trump-protest-sign-ever-a-complete-guide\">protest banners\u003c/a>, the \u003ca href=\"https://www.kqed.org/pop/33376/so-theres-a-naked-donald-trump-statue-in-the-castro-now-nsfw\">nude statues\u003c/a> and \u003ca href=\"https://www.bbc.com/culture/article/20160518-what-does-the-trumpputin-kiss-really-mean\">subversive murals\u003c/a> of the first Trump administration?\u003c/p>\n\u003cp>Voters, apparently.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite a surge in art-as-resistance eight years ago — hailed as crucial in the fight to defeat Trump once and for all — America is back where it started in 2016, give or take a few \u003ca href=\"https://apnews.com/article/trump-charlottesville-college-protests-gaza-biden-antisemitism-b19a1ae593b076d5314f08549b1b0d7b\">racist marches\u003c/a>, \u003ca href=\"https://www.npr.org/2024/11/17/nx-s1-5192608/idahos-abortion-ban-one-of-the-strictest-in-the-u-s-is-being-challenged-in-court\">abortion bans\u003c/a> and \u003ca href=\"https://www.npr.org/2024/05/30/1198912466/in-a-historic-verdict-trump-found-guilty-on-34-felony-counts-in-hush-money-trial\">felony counts\u003c/a>.\u003c/p>\n\u003cp>And while the stakes for the future of the country are unquestionably higher this time around, artist reaction has been conspicuously subdued. Not only are activists organizing \u003ca href=\"https://www.kqed.org/news/12014032/dispirited-and-humbled-the-conspicuous-absence-of-bay-area-protests-after-trumps-win\">far fewer protests\u003c/a>, there’s noticeably less anti-Trump art. Yes, even in the Bay Area.\u003c/p>\n\u003cp>How could that be? Well, it depends on who you ask.\u003c/p>\n\u003cfigure id=\"attachment_13968235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists.jpg\" alt=\"A man in a black hoodie and tan pants stands among a cluttered studio space, looking up at the camera.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BrentLindsay.Imaginists-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brent Lindsay, Artistic Director for the Imaginists Theatre Collective in Santa Rosa, pictured backstage on Nov. 18, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It feels to me like everyone just got wiped out,” said Brent Lindsay, artistic director of the Imaginists Theatre Collective in Santa Rosa, of the relative quiet from artists, post-election. “Everyone’s just — I don’t know about \u003ci>retreating\u003c/i>, but everyone’s sort of going deep. Having to. And I don’t know what’s on the other side of that.”\u003c/p>\n\u003ch2>A time of reorientation\u003c/h2>\n\u003cp>Lindsay is no stranger to explicitly political art. In 2017, the Imaginists presented \u003ci>Stop That Show!\u003c/i>, a \u003ca href=\"https://theimaginists.org/aimsarchive\">bicycle-powered, bilingual outdoor satire\u003c/a> squarely aimed at the Trump White House. Lindsay played “President Corn,” in a disheveled blonde wig and Russian-branded garb.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was good in that we all needed to find joy in some darkness, and we all needed to find a way out, shake it off, be entertained,” Lindsay said, acknowledging that the show was more a balm than a weapon of resistance.\u003c/p>\n\u003cp>No one can predict exactly what the next four years will bring from the arts sector. But Lindsay believes that alongside explicitly political art, the world may see more politically informed work based in storytelling and emotional resonance.\u003c/p>\n\u003cp>“You need both,” Lindsay said. “We need the bombastic, the in-your-face, the revolutionary. And this may be a silly analogy, but we need the bunny slope. Because we need new people coming and trying it, and working their way up.”\u003c/p>\n\u003cfigure id=\"attachment_13887378\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887378\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN.jpg\" alt=\"W. Kamau Bell\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/WKamauBell.MAIN_.JohnNowackCNN-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell in 2020. \u003ccite>(John Nowack/CNN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At \u003ca href=\"https://oaklandside.org/culture-makers/\">Oaklandside’s Culture Makers\u003c/a> panel on Nov. 14, comedian W. Kamau Bell, who endorsed Kamala Harris, was optimistic about the next era of direct political art.\u003c/p>\n\u003cp>“There’s going to be a type of artist now who’s going to be much more clear than they were in the past,” Bell said. “It’s an invitation to be much more clear on what the message is, what your goals are, to have art that actually points towards the change. I think it’s going to be a wave of really classic-era, political [art] — the right side of propaganda, pointing to the right side of history.”\u003c/p>\n\u003cp>Bell’s friend and colleague Favianna Rodriguez is the founder of the \u003ca href=\"https://www.culturalpower.org/\">Center for Cultural Power\u003c/a>, an organization that supports artists and arms people with artistic tools for resistance. In 2017, in opposition to Trump’s Muslim ban, Rodriguez’s series \u003ci>\u003ca href=\"https://favianna.com/artworks/migration-is-beautiful-2018?\">Migration Is Beautiful\u003c/a>\u003c/i> surged in visibility. Climate justice and reproductive rights have also been prominent themes in her work.\u003c/p>\n\u003cp>“I have seen both a moment of reflection, and a moment of reorientation,” Rodriguez said of the weeks following the election. “Our response as artists is going to take some time for us to get organized. But I do trust that artists are going to rise up and create work, and be angry and bold.”\u003c/p>\n\u003cfigure id=\"attachment_13881312\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42.jpg\" alt=\"Woman in red outfit with microphone\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ClimateWoke2019_brookeanderson-42-1020x681.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Favianna Rodriguez speaking in 2020. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artists, Rodriguez asserts, have the power to change cultural narratives, which in turn shape political narratives.\u003c/p>\n\u003cp>“We can show the humanity,” she says. “We can help normalize things that were once seen as rare. We can help tell human stories that move people’s hearts.”\u003c/p>\n\u003ch2>‘Not just an attack against Trump’\u003c/h2>\n\u003cp>Pianist, hip-hop artist and member of Oakland’s Cultural Affairs Commission Kev Choice says he’s angry and disappointed about Trump winning the presidency. He’s also contending with how many in his community — people who care about social justice and want an end to U.S. military aid to Israel — disengaged from the election.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He sees a disillusionment with the Democratic party’s role in the devastation in Gaza, as well as with the two-party system. Choice was just as disappointed with Trump’s victory as he was with progressive propositions, like rent control, failing in California.\u003c/p>\n\u003cp>“I’ve been sitting with how to address it on all fronts, not just an attack against Trump, but just our general engagement in politics and how we can be more impactful — and have just honest conversations about what it means to even be engaged,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13964204\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964204\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-22-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says he’s working on a song that airs out his community’s disappointment and grief over the election results, but he’s also looking beyond music. “Music is one thing, but supporting grassroots organizations to get people to register to vote, who will get people to campaign for certain measures or props — the day to day things that it takes to win a campaign,” he says. “It’s not always the flashy notoriety, like being on TV or releasing a song. It’s phone banking, canvassing, calling, traveling to other areas — and also bringing up those issues constantly in the art that we create.”\u003c/p>\n\u003cp>Filmmaker Josh Healey has advocated for a permanent ceasefire in Gaza with his podcast, \u003ca href=\"https://www.offsidesproductions.org/portfolio/friday-night-semites/\">Friday Night Semites\u003c/a>, and organizing with Jewish Voice for Peace and beyond. His work, including the comedy series \u003ci>The North Pole\u003c/i>, has also addressed class issues such as gentrification.\u003c/p>\n\u003cp>“I think the next couple of years we are going to see — and some of the people in this room are going to make — some of the dopest and most powerful art we’ve seen,” Healey said at Oaklandside’s Culture Makers panel.\u003c/p>\n\u003cfigure id=\"attachment_13808051\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808051\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg\" alt=\"woman and man pose with polar bear\" width=\"2048\" height=\"1367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Ericka Huggins and producer Josh Healy at the premiere for ‘The North Pole’ at the Grand Lake Theater in Oakland, Sept. 7, 2017. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Where I’m at as a filmmaker is not just ‘fuck Trump’ and whatever local billionaires are running these campaigns,” he continued, “but also, Hollywood is done. And I’m ready to actually celebrate that. And what I mean by that is not the death of filmmaking, but the death of capitalist, consumerist — the normalization. So many of the stories of what is normalized comes from arts and culture. And so that is my responsibility, and our responsibility.”\u003c/p>\n\u003ch2>Artists shifting to the right\u003c/h2>\n\u003cp>Supporting Trump was more taboo among artists during his first administration, but with rappers like Kanye West, Sexyy Red, Kodak Black and Azealia Banks backing Trump, some observers see a rightward turn in the entertainment industry.\u003c/p>\n\u003cfigure id=\"attachment_13968405\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968405\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/maddy-clifford-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop artist, writer and TikTok creator Maddy Clifford organizes for student debt abolition with Debt Collective. \u003ccite>(Courtesy Vanessa 'AGANA' Espinoza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Culture Makers panel, hip-hop artist and organizer Maddy Clifford, who campaigns for student debt abolition with Debt Collective, talked about this shift.\u003c/p>\n\u003cp>“I think a lot of the country will go to the right, let’s be honest about that,” said Clifford, who has contributed to KQED as a cultural critic. “And so it’s going to be more important than ever for us to be really righteous and really stand in our solid values, because there’s going to be a lot of pressure to basically sell out, straight up.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clifford looked beyond Trump’s candidacy — which made gains with young men — and pointed towards conservative trends in culture, name-checking social media movements that promote conservative gender roles and normalize misogyny. “People are like, ‘How did this happen?’” she said. “Well, what about trad wife content? What about the manosphere? This has been happening for a long time.”\u003c/p>\n\u003ch2>Déjà vu\u003c/h2>\n\u003cp>”We’ve been here before,” says \u003ca href=\"https://www.angelahennessy.com/\">Angela Hennessy\u003c/a>, an Oakland visual artist and California College of the Arts professor. Hennessy, whose work will be shown at the San Francisco Museum of Modern Art in the \u003ca href=\"https://www.kqed.org/arts/13955864/sfmoma-2024-seca-art-award-announcement\">2024 SECA Art Award Exhibition\u003c/a>, says this is déjà vu.\u003c/p>\n\u003cp>She’s more surprised that people are surprised. “This \u003ci>is\u003c/i> America,” Hennessy wrote in an email to KQED.\u003c/p>\n\u003cfigure id=\"attachment_13812676\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg\" alt=\"Angela Hennessy, 'Black Rainbow,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RZO4135_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Angela Hennessy, ‘Black Rainbow,’ 2017. \u003ccite>(Courtesy of the artist and Southern Exposure; photo by Raheleh (Minoosh) Zomorodinia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hennessy, a survivor of gun violence, uses hair weaving and braiding in her artwork as she navigates the connections between loss and liberation, death and despair, grieving and growing. She says that given her subject matter, her art is always political. And in this moment, Hennessy wrote, “My work can be seen as responding to the death machine that is our country.”\u003c/p>\n\u003cp>Hennessy asks people to read beyond the \u003ca href=\"https://www.thenation.com/article/archive/no-place-self-pity-no-room-fear/\">popular Toni Morrison quote\u003c/a>, “This is precisely the time when artists go to work,” and see that the late author was making the connection between chaos and the potential of art as a kind of wisdom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this moment, “the opportunity,” Hennessy wrote, “is to be more brave, more unapologetic and articulate in knowing what we know. To make art, music, poetry, etc. as if something was at stake.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Calling all Bay Area STAY. K-pop band Stray Kids have just announced the dates for their 2025 dominATE world tour, which will include a stop at Oracle Park in San Francisco on May 28, 2025.\u003c/p>\n\u003cp>It’s been a massive year of music for the eight-member group, who released their ninth EP \u003cem>ATE\u003c/em> in July and their second Japanese-language studio album \u003cem>GIANT\u003c/em> earlier this month. The upcoming tour means fans will have a chance to hear new songs like “Chk Chk Boom” and older hits like “\u003ca href=\"https://www.youtube.com/watch?v=pM-jOfy_1jM\">VENOM\u003c/a>” and “\u003ca href=\"https://youtu.be/TQTlCHxyuu8?si=cnPhJNn7uhu5EzYn\">God’s Menu\u003c/a>” in person.\u003c/p>\n\u003cp>https://youtu.be/T17AR8cVmto?si=4mCamioLtNzgKVgo\u003c/p>\n\u003cp>Tickets go on sale Friday, Nov. 22, at 3 p.m., but there’s a chance to get tickets ahead of the masses if you sign up for the \u003ca href=\"https://signup.ticketmaster.com/straykids\">artist presale\u003c/a> by 7 a.m. on Thursday, Nov. 21. Anyone can sign up for the presale — all you need is a Ticketmaster account. When you sign up, you’ll be able to choose up to three tour stops you’d like to access. The presale itself will take place on Nov. 22 from 11 a.m.–2:30 p.m. local time.\u003c/p>\n\u003cp>The artist presale is the only official presale available for this tour; Stray Kids fan club members will not receive presale codes. Once you sign up, Ticketmaster will follow up with email reminders closer to the presale start time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The tour will likely turn out both veteran fans and newcomers, considering this isn’t Stray Kids’ first Bay Area visit. The group previously performed in San Jose during their first world tour in 2020, and most recently stopped in Oakland on their 2022 Maniac World Tour. This upcoming San Francisco tour stop will mark their largest Bay Area concert to date.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information about tour stops and ticket information, check out \u003ca href=\"https://www.straykidsworldtour.com/\">Stray Kids’ official concert website\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Calling all Bay Area STAY. K-pop band Stray Kids have just announced the dates for their 2025 dominATE world tour, which will include a stop at Oracle Park in San Francisco on May 28, 2025.\u003c/p>\n\u003cp>It’s been a massive year of music for the eight-member group, who released their ninth EP \u003cem>ATE\u003c/em> in July and their second Japanese-language studio album \u003cem>GIANT\u003c/em> earlier this month. The upcoming tour means fans will have a chance to hear new songs like “Chk Chk Boom” and older hits like “\u003ca href=\"https://www.youtube.com/watch?v=pM-jOfy_1jM\">VENOM\u003c/a>” and “\u003ca href=\"https://youtu.be/TQTlCHxyuu8?si=cnPhJNn7uhu5EzYn\">God’s Menu\u003c/a>” in person.\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/T17AR8cVmto'\n title='//www.youtube.com/embed/T17AR8cVmto'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tickets go on sale Friday, Nov. 22, at 3 p.m., but there’s a chance to get tickets ahead of the masses if you sign up for the \u003ca href=\"https://signup.ticketmaster.com/straykids\">artist presale\u003c/a> by 7 a.m. on Thursday, Nov. 21. Anyone can sign up for the presale — all you need is a Ticketmaster account. When you sign up, you’ll be able to choose up to three tour stops you’d like to access. The presale itself will take place on Nov. 22 from 11 a.m.–2:30 p.m. local time.\u003c/p>\n\u003cp>The artist presale is the only official presale available for this tour; Stray Kids fan club members will not receive presale codes. Once you sign up, Ticketmaster will follow up with email reminders closer to the presale start time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The tour will likely turn out both veteran fans and newcomers, considering this isn’t Stray Kids’ first Bay Area visit. The group previously performed in San Jose during their first world tour in 2020, and most recently stopped in Oakland on their 2022 Maniac World Tour. This upcoming San Francisco tour stop will mark their largest Bay Area concert to date.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information about tour stops and ticket information, check out \u003ca href=\"https://www.straykidsworldtour.com/\">Stray Kids’ official concert website\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Goodness knows, it feels as if \u003ca href=\"https://video.kqed.org/video/cynthia-erivo-performs-days-of-wine-and-roses-u7ei8z/\">Cynthia Erivo\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/ariana-grande\">Ariana Grande\u003c/a> have been attached at the hip for the better part of this century, \u003ca href=\"https://www.huffpost.com/entry/ariana-grande-cynthia-erivo-crying_n_673776ade4b04e397bc671af\">crying\u003c/a> and bantering together while adorned in fabulous ensembles of green, black, and pink, the (un?)official colors of \u003cem>\u003ca href=\"https://video.kqed.org/video/reopening-wicked-3v8m0j/\">Wicked\u003c/a>.\u003c/em> The press tour and behind-the-scenes gossip accompanying Jon M. Chu’s long-awaited spectacular have been exhaustingly \u003cem>dramatique\u003c/em> — probably to be expected for the film adaptation of a Broadway musical juggernaut beloved by theater kids all over (I was one of them), and starring one of the era’s biggest pop stars.\u003c/p>\n\u003cp>[aside postid='pop_84656']Ultimately, it’s what lands on the screen that matters. And with regards to \u003cem>Wicked: Part 1 \u003c/em>many things are true at once: the excellent Erivo and Grande couldn’t have been better suited to play Elphaba, the Wicked Witch of the West, and Galinda, who goes on to become Glinda the Good Witch; the movie’s themes are evergreen and relevant; and whoever made the decision to divide the stage show into two separate movies deserves to be cursed by a spell from the book of the \u003ca href=\"https://wicked.fandom.com/wiki/Grimmerie\">Grimmerie\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Wicked\u003c/em>, very loosely based on Gregory Maguire’s \u003cem>Wizard of Oz \u003c/em>revisionist novel \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>, tells the origin story of Elphaba and how she became L. Frank Baum’s emblematic villain. She’s shunned by her father and ostracized by her peers for the mere fact of being born with abnormally green skin, and at a young age discovers that in response to their callousness, her rage manifests uncontrollably as a magic force from within. Years later, that ability comes to the attention of Madame Morrible (\u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>), the no-nonsense headmistress of Shiz University, who eagerly takes Elphaba under her wing for private tutelage in sorcery.\u003c/p>\n\u003ch3>Two good friends, two best friends\u003c/h3>\n\u003cp>Elphaba is assigned to room with Galinda, the bubbly, supremely vain beauty queen who’s none too happy she now has to share her private suite with the school’s oddball. The two clash for all the expected reasons: if Elphaba’s whole vibe is “emo-goth girl who shops at Hot Topic circa 2003,” Galinda’s is “Barbie.” Galinda’s initially jealous that she herself doesn’t get to study with Madame Morrible. But soon enough, they become friends (best friends, even), just as Oz enters a period of social unrest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6COmYeLsz4c\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a lot to recommend here, particularly for fans of the show — the humor is punchy, Christopher Scott’s expressive choreography enhances the characterizations, and Paul Tazewell’s costume design details are perfection. But by far the standout of \u003cem>Wicked \u003c/em>is that central relationship between these two enemies-turned-friends. Erivo and Grande have the goods: both come from theater backgrounds (the former has won a Tony) but are also naturals on camera, and so they’re able to bring subtlety and grandiosity as needed. Even under the green makeup and against the backdrop of some hideously overwhelming CGI aesthetics, their chemistry is undeniable, whether they’re bickering during one of the show’s highlights, “What Is This Feeling?” or finding common ground during the show-stopping Act I finale “Denying Gravity.”\u003c/p>\n\u003cp>This is most palpable during the big Ozdust Ballroom sequence, in which Elphaba, once again ostracized by her classmates, defiantly reacts to their laughter with dance, and Galinda, feeling empathy for possibly the first time ever, joins her. It’s both the most musical theater-y thing that could happen in this most musical theater-y of shows, and gets at the essence of the show’s enduring appeal.\u003c/p>\n\u003ch3>A timely allegory — to a tune\u003c/h3>\n\u003cp>Meanwhile, the show’s other central concern is striking to take in at this moment. Gregory Maguire’s 1995 book is a sprawling, bleak meditation on the nature of good vs. evil, and what it means to resist or give over into fascist movements. Oz is a world where animals have evolved to be just as intelligent as humans, with the ability to talk and live just as humans do, though they’ve long faced discrimination for doing so. (In the movie Elphaba’s beloved professor Dr. Dillamond is a goat voiced by Peter Dinklage.) The paternalistic, self-anointed Wizard (Jeff Goldblum, at his Goldblum-iest) is intent on stripping Oz’s animals of their autonomy and rights, and using Elphaba’s powers to do so.\u003c/p>\n\u003cp>[aside postid='arts_13968135']The musical, both on stage and screen, is a significantly diluted and altogether different take on Maguire’s novel. But its parallels to our real world — currently marked by calls for mass deportations, the erosion of abortion rights; etc. — are still unmistakably apparent to anyone reading today’s news.\u003c/p>\n\u003cp>The allegories of minority persecution are rendered even more palpable by casting Erivo, a Black woman, in the role as Wicked Witch of the West. (To date, only one Black actress has played her in an onstage production full-time: Alexia Khadime, in London’s West End over a decade ago.) By coding the outcast-turned-political agitator as Black — her hair is in microbraids, and save for the green makeup, Erivo’s facial features are fully visible — the realities of the world we live in are inescapable.\u003c/p>\n\u003cp>“Her green skin is an outward manifestation of her twisted nature!” a character proclaims to the people of Oz at one point, riling them up to position Elphaba as the common enemy. Arguing that her skin — who she is — is reason enough to demonize her: It isn’t altogether different from, say, \u003ca href=\"https://www.npr.org/2024/10/02/1202966831/haitian-immigrants\">recent rhetoric used to target Haitian immigrants in Ohio\u003c/a>.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/7952x5304+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F30%2Fdc%2F57c15206467f8940cbd45fe9076e%2F2551-d031-00223r.jpg\" alt=\"Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on.\">\u003cfigcaption>Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on. \u003ccite> (Giles Keyte | Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all its virtues and relevance, however, it’s curious that in this two-hour-41-minute adaptation of \u003cem>the first act\u003c/em> of the show — longer, it should be noted, than the entire stage production without intermission — little of substance was added to justify making this affair a two-parter.\u003c/p>\n\u003cp>[aside postid='arts_13968236']Chu and screenwriters Winnie Holzman and Dana Fox stay quite faithful to the source material (which Holzman also wrote) and there are no new songs to go alongside all of composer Stephen Schwartz’s original ones. (Reportedly Part 2 will have some new songs, which may be for the best considering Act 2’s numbers suffer in comparison to the stacked first half.) There are few attempts to incorporate more of Maguire’s excessive lore from the book, and other secondary characters, like Elphaba’s younger sister Nessarose (Marissa Bode) and romantic interest Fiyero (Jonathan Bailey) aren’t fleshed out any more than they are in show.\u003c/p>\n\u003cp>The result is a movie that, while pleasant and occasionally moving, concludes with its apex (“Defying Gravity”) which also happens to be a cliffhanger. It’s an unusually and exceedingly peculiar state — both complete and incomplete at the same time. The feeling isn’t quite loathing, exactly. But it is a bit tiresome, especially since it likely means we have to expect yet another full year of a \u003cem>Wicked \u003c/em>press tour. Like its predecessor, it’s an imperfect production that has a lot of heart and brains. If it only had the courage to tell a complete story in a reasonable amount of time.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Wicked’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ultimately, it’s what lands on the screen that matters. And with regards to \u003cem>Wicked: Part 1 \u003c/em>many things are true at once: the excellent Erivo and Grande couldn’t have been better suited to play Elphaba, the Wicked Witch of the West, and Galinda, who goes on to become Glinda the Good Witch; the movie’s themes are evergreen and relevant; and whoever made the decision to divide the stage show into two separate movies deserves to be cursed by a spell from the book of the \u003ca href=\"https://wicked.fandom.com/wiki/Grimmerie\">Grimmerie\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Wicked\u003c/em>, very loosely based on Gregory Maguire’s \u003cem>Wizard of Oz \u003c/em>revisionist novel \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>, tells the origin story of Elphaba and how she became L. Frank Baum’s emblematic villain. She’s shunned by her father and ostracized by her peers for the mere fact of being born with abnormally green skin, and at a young age discovers that in response to their callousness, her rage manifests uncontrollably as a magic force from within. Years later, that ability comes to the attention of Madame Morrible (\u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>), the no-nonsense headmistress of Shiz University, who eagerly takes Elphaba under her wing for private tutelage in sorcery.\u003c/p>\n\u003ch3>Two good friends, two best friends\u003c/h3>\n\u003cp>Elphaba is assigned to room with Galinda, the bubbly, supremely vain beauty queen who’s none too happy she now has to share her private suite with the school’s oddball. The two clash for all the expected reasons: if Elphaba’s whole vibe is “emo-goth girl who shops at Hot Topic circa 2003,” Galinda’s is “Barbie.” Galinda’s initially jealous that she herself doesn’t get to study with Madame Morrible. But soon enough, they become friends (best friends, even), just as Oz enters a period of social unrest.\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/6COmYeLsz4c'\n title='//www.youtube.com/embed/6COmYeLsz4c'\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>There’s a lot to recommend here, particularly for fans of the show — the humor is punchy, Christopher Scott’s expressive choreography enhances the characterizations, and Paul Tazewell’s costume design details are perfection. But by far the standout of \u003cem>Wicked \u003c/em>is that central relationship between these two enemies-turned-friends. Erivo and Grande have the goods: both come from theater backgrounds (the former has won a Tony) but are also naturals on camera, and so they’re able to bring subtlety and grandiosity as needed. Even under the green makeup and against the backdrop of some hideously overwhelming CGI aesthetics, their chemistry is undeniable, whether they’re bickering during one of the show’s highlights, “What Is This Feeling?” or finding common ground during the show-stopping Act I finale “Denying Gravity.”\u003c/p>\n\u003cp>This is most palpable during the big Ozdust Ballroom sequence, in which Elphaba, once again ostracized by her classmates, defiantly reacts to their laughter with dance, and Galinda, feeling empathy for possibly the first time ever, joins her. It’s both the most musical theater-y thing that could happen in this most musical theater-y of shows, and gets at the essence of the show’s enduring appeal.\u003c/p>\n\u003ch3>A timely allegory — to a tune\u003c/h3>\n\u003cp>Meanwhile, the show’s other central concern is striking to take in at this moment. Gregory Maguire’s 1995 book is a sprawling, bleak meditation on the nature of good vs. evil, and what it means to resist or give over into fascist movements. Oz is a world where animals have evolved to be just as intelligent as humans, with the ability to talk and live just as humans do, though they’ve long faced discrimination for doing so. (In the movie Elphaba’s beloved professor Dr. Dillamond is a goat voiced by Peter Dinklage.) The paternalistic, self-anointed Wizard (Jeff Goldblum, at his Goldblum-iest) is intent on stripping Oz’s animals of their autonomy and rights, and using Elphaba’s powers to do so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The musical, both on stage and screen, is a significantly diluted and altogether different take on Maguire’s novel. But its parallels to our real world — currently marked by calls for mass deportations, the erosion of abortion rights; etc. — are still unmistakably apparent to anyone reading today’s news.\u003c/p>\n\u003cp>The allegories of minority persecution are rendered even more palpable by casting Erivo, a Black woman, in the role as Wicked Witch of the West. (To date, only one Black actress has played her in an onstage production full-time: Alexia Khadime, in London’s West End over a decade ago.) By coding the outcast-turned-political agitator as Black — her hair is in microbraids, and save for the green makeup, Erivo’s facial features are fully visible — the realities of the world we live in are inescapable.\u003c/p>\n\u003cp>“Her green skin is an outward manifestation of her twisted nature!” a character proclaims to the people of Oz at one point, riling them up to position Elphaba as the common enemy. Arguing that her skin — who she is — is reason enough to demonize her: It isn’t altogether different from, say, \u003ca href=\"https://www.npr.org/2024/10/02/1202966831/haitian-immigrants\">recent rhetoric used to target Haitian immigrants in Ohio\u003c/a>.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/7952x5304+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F30%2Fdc%2F57c15206467f8940cbd45fe9076e%2F2551-d031-00223r.jpg\" alt=\"Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on.\">\u003cfigcaption>Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on. \u003ccite> (Giles Keyte | Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all its virtues and relevance, however, it’s curious that in this two-hour-41-minute adaptation of \u003cem>the first act\u003c/em> of the show — longer, it should be noted, than the entire stage production without intermission — little of substance was added to justify making this affair a two-parter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Chu and screenwriters Winnie Holzman and Dana Fox stay quite faithful to the source material (which Holzman also wrote) and there are no new songs to go alongside all of composer Stephen Schwartz’s original ones. (Reportedly Part 2 will have some new songs, which may be for the best considering Act 2’s numbers suffer in comparison to the stacked first half.) There are few attempts to incorporate more of Maguire’s excessive lore from the book, and other secondary characters, like Elphaba’s younger sister Nessarose (Marissa Bode) and romantic interest Fiyero (Jonathan Bailey) aren’t fleshed out any more than they are in show.\u003c/p>\n\u003cp>The result is a movie that, while pleasant and occasionally moving, concludes with its apex (“Defying Gravity”) which also happens to be a cliffhanger. It’s an unusually and exceedingly peculiar state — both complete and incomplete at the same time. The feeling isn’t quite loathing, exactly. But it is a bit tiresome, especially since it likely means we have to expect yet another full year of a \u003cem>Wicked \u003c/em>press tour. Like its predecessor, it’s an imperfect production that has a lot of heart and brains. If it only had the courage to tell a complete story in a reasonable amount of time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Wicked’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Saafir, the raspy-voiced Oakland rapper who infused the rhythms of avant-garde jazz into his rhymes, died on Tuesday morning, according to family. He was 54.\u003c/p>\n\u003cp>A joint \u003ca href=\"https://www.instagram.com/p/DCj_iNlS5aE/\">Instagram post\u003c/a> by the rapper Xzibit and Saafir’s son explained that the rapper born Reggie Gibson died at 8:45 a.m., surrounded by friends and family.\u003c/p>\n\u003cp>“We surrounded him and let him know how much we loved him,” the post read. “He can rest now.”\u003c/p>\n\u003cp>No cause of death was announced. Saafir had long struggled with complications from a spinal surgery and other health problems.\u003c/p>\n\u003cfigure id=\"attachment_13968341\" class=\"wp-caption aligncenter\" style=\"max-width: 1122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg\" alt=\"\" width=\"1122\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-800x887.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-1020x1131.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-768x852.jpg 768w\" sizes=\"(max-width: 1122px) 100vw, 1122px\">\u003cfigcaption class=\"wp-caption-text\">Saafir.\u003c/figcaption>\u003c/figure>\n\u003cp>With his early 1990s hip-hop group Hobo Junction, Saafir made a name for himself as a lyrically dextrous and inventive rapper with a distinct, guttural style. He is remembered by hip-hop fans nationwide, and especially in the Bay Area, for incandescently propelling a \u003ca href=\"https://www.kqed.org/arts/13924170/the-bay-area-rap-battle-heard-round-the-world\">legendary 1994 on-air freestyle battle\u003c/a> between his Hobo Junction crew and fellow East Bay collective Hieroglyphics that lasted more than 40 minutes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saafir spent his early teenage years in and out of group homes in Oakland, with at least one stint in jail. Inspired by early rappers like Too Short and LL Cool J, he began writing raps and developing a cadence that frequently avoided the downbeat.\u003c/p>\n\u003cp>While working with \u003ca href=\"https://www.kqed.org/arts/tag/digital-underground\">Digital Underground\u003c/a>, Saafir was onetime roommates with \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a>, who introduced the West Oakland-bred young talent to Hollywood movie directors Albert and Allen Hughes. Saafir appeared in their 1993 film \u003cem>Menace II Society\u003c/em> as the character cousin Harold.\u003c/p>\n\u003cp>Before long, Saafir was offered a major record deal from music industry titan Quincy Jones. The resulting album, \u003cem>Boxcar Sessions\u003c/em>, bridged the dynamism of jazz innovators like Eric Dolphy and Andrew Hill with the streetwise sounds and themes of crack-era Oakland. To celebrate its release, Saafir performed a \u003ca href=\"https://www.youtube.com/watch?v=ww82T3UmSEU\">free show\u003c/a> in front of Leopold’s Records, just off Telegraph Avenue in Berkeley, where Hobo Junction first began selling underground tapes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lfQWH8QsNjA\u003c/p>\n\u003cp>Only a handful of albums followed. In 2013, on the blog of hip-hop historian Davey D, Shock G from Digital Underground explained Saafir’s absence from the scene in a \u003ca href=\"https://hiphopandpolitics.com/2013/02/12/shock-g-of-digital-underground-explains-why-saafir-is-bound-to-a-wheelchair/\">sprawling list of accidents, afflictions and obstacles\u003c/a> that went viral among diehard fans. Saafir later clarified parts of Shock G’s recollection in an interview with the \u003ca href=\"https://sfbgarchive.48hills.org/sfbgarchive/2013/03/27/reality-rap-qa-saafir-saucee-nomad/\">\u003cem>San Francisco Bay Guardian\u003c/em>\u003c/a>, where he detailed the challenges of navigating the healthcare system.\u003c/p>\n\u003cp>[aside postID='arts_13924170']Saafir, who used a wheelchair after his spinal surgery, made very few public appearances over the past 15 years. He often made an exception, however, for \u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\">Dream Day\u003c/a> — an annual tribute to his late friend and graffiti artist \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a>. In 2014, he appeared onstage in San Francisco to perform his hit “Light Sleeper,” supported by the show’s headliner and his former battle nemesis from Hieroglyphics, Casual.\u003c/p>\n\u003cp>Though their famous freestyle battle hosted by Sway on KMEL’s \u003cem>The Wake Up Show\u003c/em> painted Saafir and Casual as enemies in the public imagination, the two retained their respect for each other.\u003c/p>\n\u003cp>In a short documentary, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=QC7OtfYxDaQ\">The Battle\u003c/a>\u003c/em>, Saafir commended Casual: “You really brought out the best. You made me wanna be a monster, and I respect it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Saafir is survived by a son — the rapper known as Lil Saafir — and a brother. No services have yet been announced.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saafir, the raspy-voiced Oakland rapper who infused the rhythms of avant-garde jazz into his rhymes, died on Tuesday morning, according to family. He was 54.\u003c/p>\n\u003cp>A joint \u003ca href=\"https://www.instagram.com/p/DCj_iNlS5aE/\">Instagram post\u003c/a> by the rapper Xzibit and Saafir’s son explained that the rapper born Reggie Gibson died at 8:45 a.m., surrounded by friends and family.\u003c/p>\n\u003cp>“We surrounded him and let him know how much we loved him,” the post read. “He can rest now.”\u003c/p>\n\u003cp>No cause of death was announced. Saafir had long struggled with complications from a spinal surgery and other health problems.\u003c/p>\n\u003cfigure id=\"attachment_13968341\" class=\"wp-caption aligncenter\" style=\"max-width: 1122px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg\" alt=\"\" width=\"1122\" height=\"1244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-800x887.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-1020x1131.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Saafir-768x852.jpg 768w\" sizes=\"(max-width: 1122px) 100vw, 1122px\">\u003cfigcaption class=\"wp-caption-text\">Saafir.\u003c/figcaption>\u003c/figure>\n\u003cp>With his early 1990s hip-hop group Hobo Junction, Saafir made a name for himself as a lyrically dextrous and inventive rapper with a distinct, guttural style. He is remembered by hip-hop fans nationwide, and especially in the Bay Area, for incandescently propelling a \u003ca href=\"https://www.kqed.org/arts/13924170/the-bay-area-rap-battle-heard-round-the-world\">legendary 1994 on-air freestyle battle\u003c/a> between his Hobo Junction crew and fellow East Bay collective Hieroglyphics that lasted more than 40 minutes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saafir spent his early teenage years in and out of group homes in Oakland, with at least one stint in jail. Inspired by early rappers like Too Short and LL Cool J, he began writing raps and developing a cadence that frequently avoided the downbeat.\u003c/p>\n\u003cp>While working with \u003ca href=\"https://www.kqed.org/arts/tag/digital-underground\">Digital Underground\u003c/a>, Saafir was onetime roommates with \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a>, who introduced the West Oakland-bred young talent to Hollywood movie directors Albert and Allen Hughes. Saafir appeared in their 1993 film \u003cem>Menace II Society\u003c/em> as the character cousin Harold.\u003c/p>\n\u003cp>Before long, Saafir was offered a major record deal from music industry titan Quincy Jones. The resulting album, \u003cem>Boxcar Sessions\u003c/em>, bridged the dynamism of jazz innovators like Eric Dolphy and Andrew Hill with the streetwise sounds and themes of crack-era Oakland. To celebrate its release, Saafir performed a \u003ca href=\"https://www.youtube.com/watch?v=ww82T3UmSEU\">free show\u003c/a> in front of Leopold’s Records, just off Telegraph Avenue in Berkeley, where Hobo Junction first began selling underground tapes.\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/lfQWH8QsNjA'\n title='//www.youtube.com/embed/lfQWH8QsNjA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Only a handful of albums followed. In 2013, on the blog of hip-hop historian Davey D, Shock G from Digital Underground explained Saafir’s absence from the scene in a \u003ca href=\"https://hiphopandpolitics.com/2013/02/12/shock-g-of-digital-underground-explains-why-saafir-is-bound-to-a-wheelchair/\">sprawling list of accidents, afflictions and obstacles\u003c/a> that went viral among diehard fans. Saafir later clarified parts of Shock G’s recollection in an interview with the \u003ca href=\"https://sfbgarchive.48hills.org/sfbgarchive/2013/03/27/reality-rap-qa-saafir-saucee-nomad/\">\u003cem>San Francisco Bay Guardian\u003c/em>\u003c/a>, where he detailed the challenges of navigating the healthcare system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Saafir, who used a wheelchair after his spinal surgery, made very few public appearances over the past 15 years. He often made an exception, however, for \u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\">Dream Day\u003c/a> — an annual tribute to his late friend and graffiti artist \u003ca href=\"https://www.kqed.org/arts/10141391/dream-but-dont-sleep-remembering-mike-dream-francisco\">Mike “Dream” Francisco\u003c/a>. In 2014, he appeared onstage in San Francisco to perform his hit “Light Sleeper,” supported by the show’s headliner and his former battle nemesis from Hieroglyphics, Casual.\u003c/p>\n\u003cp>Though their famous freestyle battle hosted by Sway on KMEL’s \u003cem>The Wake Up Show\u003c/em> painted Saafir and Casual as enemies in the public imagination, the two retained their respect for each other.\u003c/p>\n\u003cp>In a short documentary, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=QC7OtfYxDaQ\">The Battle\u003c/a>\u003c/em>, Saafir commended Casual: “You really brought out the best. You made me wanna be a monster, and I respect it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Saafir is survived by a son — the rapper known as Lil Saafir — and a brother. No services have yet been announced.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé Will Perform a Christmas Day Halftime Show During an NFL Game",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> will perform at a halftime show during one of the NFL’s Christmas Day matchups on Netflix.\u003c/p>\n\u003cp>She will take the stage during a game between her hometown team, the Houston Texans, and the Baltimore Ravens, to perform songs from her latest album, \u003ca href=\"https://www.kqed.org/arts/13955021/beyonces-cowboy-carter-first-impressions\">\u003cem>Cowboy Carter\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13955633']The project was recently nominated for 11 \u003ca href=\"https://www.kqed.org/arts/tag/grammys\">Grammys\u003c/a>, breaking the record for the most nominations for an album by a female artist, and placed Beyoncé as the artist with the most nominations in history, with 99.\u003c/p>\n\u003cp>Artists featured on the album could make an appearance, some of whom include Miley Cyrus, Post Malone and Shaboozey, \u003ca href=\"https://about.netflix.com/en/news/beyonce-to-perform-at-halftime-of-ravens-texans-during-nfl-christmas-gameday\">Netflix said Sunday\u003c/a>.\u003c/p>\n\u003cp>Beyoncé previously performed at two Super Bowl halftime shows — in 2013 with Michelle Williams and Kelly Rowland, her former Destiny’s Child bandmates, and in 2016 with Coldplay and Bruno Mars.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The game will stream on Netflix at 4:30 p.m. ET and be shown on the participating teams’ local broadcast channels. Earlier in the day, Netflix is also streaming a game between the Kansas City Chiefs and the Pittsburgh Steelers. The company says it has also secured holiday games for 2025 and 2026.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The game will stream on Netflix at 4:30 p.m. ET and be shown on the participating teams’ local broadcast channels. Earlier in the day, Netflix is also streaming a game between the Kansas City Chiefs and the Pittsburgh Steelers. The company says it has also secured holiday games for 2025 and 2026.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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