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"content": "\u003cp>Given that approximately half of humanity menstruates at some point in their lives, Aida Salazar says it’s a real testament to the patriarchy that women feel shame or embarrassment about their periods.\u003c/p>\n\u003cfigure id=\"attachment_13852672\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85.jpg\" alt=\"'The Moon Within' by Aida Salazar\" width=\"300\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85-160x218.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘The Moon Within’ by Aida Salazar \u003ccite>(Aida Salazar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salazar wanted better for her daughter’s generation, so she wrote \u003cem>The Moon Within, \u003c/em>a coming of age novel written in verse. The story centers around Celi Rivera, an 11-year-old girl growing up in Oakland, who is mortified that her mother wants to celebrate her first period with a moon ceremony.\u003c/p>\n\u003cp>Moon ceremonies date back to pre-colonial times, Salazar explains. Women across the Americas would gather to celebrate their bodies and their connection to the universe.\u003c/p>\n\u003cp>Salazar didn’t have a moon ceremony for her first period, but she did celebrate her daughter with one. “I wanted to reframe the conversation,” Salazar says. “I wanted to tell a different story to her.”\u003c/p>\n\u003cp>Salazar says she wrote \u003cem>The Moon Within \u003c/em>for her daughter, and her daughter’s generation … but she wrote it for someone else, too: “In some ways, I wrote it for myself, because I needed that kind of healing,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/701540827/701987132\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her daughter’s moon ceremony\u003c/strong>\u003c/p>\n\u003cp>My daughter is a dancer and so she we invited her dance teachers, and we invited my sisters, and our family, and our chosen family as well. And we gathered beneath the full moon and we did many of the rituals that are described in the book. … There’s something very powerful about bringing intention to the understanding that we are connected to a cycle that is bigger than us.\u003c/p>\n\u003cp>\u003cstrong>On women feeling ashamed about menstruation \u003c/strong>\u003c/p>\n\u003cp>I wanted this book to be part of the movement to dismantle that — to take apart those notions, to reframe the idea that our menstruations are something dirty, or to be feared, or the “curse.”\u003c/p>\n\u003cp>I wanted to shed light on its power, and its beauty, and its really profound celebratory aspect. I think \u003cem>that’s\u003c/em> the way that we’re going to be able to change … those Puritanical and patriarchal views of menstruation. … I also wanted to reframe the way that we, as women, view our bodies, and how we teach our children to view their bodies: In a way that’s positive, in a way that’s celebratory — with reverence and respect and love.\u003c/p>\n\u003cp>[contextly_sidebar id=”gMIsoQ6WCgf0Q8rTFCIUE3dbnrk2PN9s”]\u003c/p>\n\u003cp>\u003cstrong>On the first time she read the Mayan poem “A Flower Song for Maidens Coming of Age,” which was written in 1440, and describes a moon ceremony\u003c/strong>\u003c/p>\n\u003cp>It really, really moved me profoundly. … Colonization basically eradicated all of our written documentation in the Americas, and we have very few fragments of knowledge. … All of our traditions have been passed down through word of mouth and also interpreted — which is a really powerful way to retain story on its own — but to have written documentation that women have been honoring the moon and celebrating their bodies, and their transitions, their milestones, in this way was such a blessing. I really felt like my ancestors were watching over and blessing this book.\u003c/p>\n\u003cp>\u003cstrong>On Celi’s gender-fluid best friend\u003c/strong>\u003c/p>\n\u003cp>I took my inspiration mostly from the pantheon. If we look at the [Meso-American] gods and goddesses, many of them were dual in nature. … Ōmeteōtl was the creator spirit and they were neither male or female but both — divine duality. And so I felt like this was an opportunity for us to remember — to rescue — some of this knowledge and be inspired to use it in a way that was compassionate and loving towards our gender expansive friends.\u003c/p>\n\u003cp>[contextly_sidebar id=”V6wjEnjJLrO7goz2kNtKbkOg2ZzmHJVS”]\u003c/p>\n\u003cp>\u003cstrong>On being a founding member of \u003c/strong>\u003ca href=\"https://www.lasmusasbooks.com/\">\u003cstrong>Las Musas\u003c/strong>\u003c/a>\u003cstrong>, a collective of women and non binary Latinx authors writing U.S. children’s literature\u003c/strong>\u003c/p>\n\u003cp>Las Musas is my heart and soul. … We’re seeing more and more Latinx people being published and … we wanted to come together as women and non binary people to make a claim that we are not only here, but that we are not in competition with one another. That there is enough space — and, in fact, we are so diverse that we need more space than what we’re given — to tell our stories. And that children in particular are ready and need what we have to bring to publishing and the book world.\u003c/p>\n\u003cp>\u003cstrong>On who she hopes will read \u003c/strong>\u003cstrong>\u003cem>The Moon Within\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I hope that it reaches boys, and girls, and gender-fluid children. I hope that it reaches the child that seeks to see themselves reflected in a book. I hope that it reaches the child who is ashamed of their menstruation or ashamed of who they are, [or] where their gender lies. I hope that it reaches children who need to feel empowered by the beauty of their bodies and the beauty of their own transformations.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audrey Nguyen, Sophia Boyd and Samantha Balaban produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Given that approximately half of humanity menstruates at some point in their lives, Aida Salazar says it’s a real testament to the patriarchy that women feel shame or embarrassment about their periods.\u003c/p>\n\u003cfigure id=\"attachment_13852672\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85.jpg\" alt=\"'The Moon Within' by Aida Salazar\" width=\"300\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85-160x218.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘The Moon Within’ by Aida Salazar \u003ccite>(Aida Salazar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salazar wanted better for her daughter’s generation, so she wrote \u003cem>The Moon Within, \u003c/em>a coming of age novel written in verse. The story centers around Celi Rivera, an 11-year-old girl growing up in Oakland, who is mortified that her mother wants to celebrate her first period with a moon ceremony.\u003c/p>\n\u003cp>Moon ceremonies date back to pre-colonial times, Salazar explains. Women across the Americas would gather to celebrate their bodies and their connection to the universe.\u003c/p>\n\u003cp>Salazar didn’t have a moon ceremony for her first period, but she did celebrate her daughter with one. “I wanted to reframe the conversation,” Salazar says. “I wanted to tell a different story to her.”\u003c/p>\n\u003cp>Salazar says she wrote \u003cem>The Moon Within \u003c/em>for her daughter, and her daughter’s generation … but she wrote it for someone else, too: “In some ways, I wrote it for myself, because I needed that kind of healing,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/701540827/701987132\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her daughter’s moon ceremony\u003c/strong>\u003c/p>\n\u003cp>My daughter is a dancer and so she we invited her dance teachers, and we invited my sisters, and our family, and our chosen family as well. And we gathered beneath the full moon and we did many of the rituals that are described in the book. … There’s something very powerful about bringing intention to the understanding that we are connected to a cycle that is bigger than us.\u003c/p>\n\u003cp>\u003cstrong>On women feeling ashamed about menstruation \u003c/strong>\u003c/p>\n\u003cp>I wanted this book to be part of the movement to dismantle that — to take apart those notions, to reframe the idea that our menstruations are something dirty, or to be feared, or the “curse.”\u003c/p>\n\u003cp>I wanted to shed light on its power, and its beauty, and its really profound celebratory aspect. I think \u003cem>that’s\u003c/em> the way that we’re going to be able to change … those Puritanical and patriarchal views of menstruation. … I also wanted to reframe the way that we, as women, view our bodies, and how we teach our children to view their bodies: In a way that’s positive, in a way that’s celebratory — with reverence and respect and love.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On the first time she read the Mayan poem “A Flower Song for Maidens Coming of Age,” which was written in 1440, and describes a moon ceremony\u003c/strong>\u003c/p>\n\u003cp>It really, really moved me profoundly. … Colonization basically eradicated all of our written documentation in the Americas, and we have very few fragments of knowledge. … All of our traditions have been passed down through word of mouth and also interpreted — which is a really powerful way to retain story on its own — but to have written documentation that women have been honoring the moon and celebrating their bodies, and their transitions, their milestones, in this way was such a blessing. I really felt like my ancestors were watching over and blessing this book.\u003c/p>\n\u003cp>\u003cstrong>On Celi’s gender-fluid best friend\u003c/strong>\u003c/p>\n\u003cp>I took my inspiration mostly from the pantheon. If we look at the [Meso-American] gods and goddesses, many of them were dual in nature. … Ōmeteōtl was the creator spirit and they were neither male or female but both — divine duality. And so I felt like this was an opportunity for us to remember — to rescue — some of this knowledge and be inspired to use it in a way that was compassionate and loving towards our gender expansive friends.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On being a founding member of \u003c/strong>\u003ca href=\"https://www.lasmusasbooks.com/\">\u003cstrong>Las Musas\u003c/strong>\u003c/a>\u003cstrong>, a collective of women and non binary Latinx authors writing U.S. children’s literature\u003c/strong>\u003c/p>\n\u003cp>Las Musas is my heart and soul. … We’re seeing more and more Latinx people being published and … we wanted to come together as women and non binary people to make a claim that we are not only here, but that we are not in competition with one another. That there is enough space — and, in fact, we are so diverse that we need more space than what we’re given — to tell our stories. And that children in particular are ready and need what we have to bring to publishing and the book world.\u003c/p>\n\u003cp>\u003cstrong>On who she hopes will read \u003c/strong>\u003cstrong>\u003cem>The Moon Within\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I hope that it reaches boys, and girls, and gender-fluid children. I hope that it reaches the child that seeks to see themselves reflected in a book. I hope that it reaches the child who is ashamed of their menstruation or ashamed of who they are, [or] where their gender lies. I hope that it reaches children who need to feel empowered by the beauty of their bodies and the beauty of their own transformations.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audrey Nguyen, Sophia Boyd and Samantha Balaban produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "There Was So Much More to Jay DeFeo Than ‘The Rose’",
"headTitle": "There Was So Much More to Jay DeFeo Than ‘The Rose’ | KQED",
"content": "\u003cp>For those with a bit of Bay Area art history under their belts, any mention of Jay DeFeo’s name invariably conjures looming visions of \u003ci>\u003ca href=\"https://whitney.org/collection/works/10075\" target=\"_blank\" rel=\"noopener noreferrer\">The Rose\u003c/a>\u003c/i>, a painting of such monumental and mythic proportions it’s often misunderstood as the artist’s entire life’s work.\u003c/p>\n\u003cp>Granted, \u003ci>The Rose\u003c/i> is a very big deal, and not just because of the amount of physical space the thing takes up. (Layered with almost 2,000 pounds of paint, the geometric starburst design is nearly 11 feet tall, 8 feet wide and 11 inches deep.) DeFeo spent eight years working on \u003ci>The Rose\u003c/i> (1958–1966), building up the surface with oil paint, wooden dowels and mica flakes. To see it in person is to stand in awe.\u003c/p>\n\u003cp>And yes, \u003ci>The Rose\u003c/i> temporarily wrecked DeFeo—physically, emotionally and creatively. But her story—and her art—didn’t stop there.\u003c/p>\n\u003cfigure id=\"attachment_13852640\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852640\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200.jpg\" alt=\"Installation view of 'Undersoul: Jay DeFeo' on view at San Jose Museum of Art, March 8-July 7, 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Undersoul: Jay DeFeo’ on view at San Jose Museum of Art, March 8-July 7, 2019. \u003ccite>(Photo by Frederick Liang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003ca href=\"https://sjmusart.org/exhibition/undersoul-jay-defeo\" target=\"_blank\" rel=\"noopener noreferrer\">Undersoul\u003c/a>\u003c/i>, a new exhibition at the San Jose Museum of Art, co-curated by Lauren Schell Dickens and Kathryn Wade, picks up after \u003ci>The Rose\u003c/i> was walled into a conference room at the San Francisco Art Institute (not to be seen again for 16 years, when the Whitney Museum of Art organized its excavation, conservation and exhibition in 1995).\u003c/p>\n\u003cp>“What do you do with yourself—as an artist, as a person—after an undertaking like \u003ci>The Rose\u003c/i>?” the exhibition asks. The answer comes in the form of DeFeo’s previously unseen photographic works.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a three-year break from art-making, photography was DeFeo’s way back in. And instead of large-scale time-consuming projects, we see her taking photographs of her immediate surroundings—the small porch studio in her Larkspur home, still life arrangements of glassware and vegetables, and eventually, process shots of ongoing paintings and drawings. While DeFeo never exhibited her photographs as artworks during her own lifetime (she died at age 60 in 1989), they were integral to her practice.\u003c/p>\n\u003cfigure id=\"attachment_13852641\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852641\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/defeo_p1042.jpg\" alt=\"Jay DeFeo, 'Untitled,' 1971.\" width=\"1024\" height=\"1046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-800x817.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-1020x1042.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-64x64.jpg 64w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Jay DeFeo, ‘Untitled,’ 1971. \u003ccite>(Courtesy of The Jay DeFeo Foundation; Marc Selwyn Fine Art, Los Angeles; Mitchell-Innes & Nash, New York; Galerie Frank Elbaz, Paris & Dallas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scale of these high-contrast silver gelatin prints—the smallest of which is just over 2-by-4 inches—necessitates a lean-in approach to viewing the exhibition. Nothing in the SJMA’s gallery will overwhelm you physically, but many of the images puzzle. DeFeo plays with light and texture, cropping and camera angles to render ordinary objects strange. (The exhibition’s title comes from DeFeo’s friend, poet Michael McClure, who used it to describe the spiritual and aesthetic qualities of everyday things.)\u003c/p>\n\u003cp>Through DeFeo’s lens, a serving dish holding a head of cauliflower, reflected in two small mirrors, becomes a surrealist meal. Photocopies, likely made semi-illicitly at Mills College, capture bones, drawing compasses and the gummy shapes of kneaded erasers pressed against the glass. In the mixed media on paper piece \u003ci>Three Mile Island No. 2\u003c/i> from her \u003ci>One O’clock Jump\u003c/i> series, these “undersoul” tactics render a broken tape dispenser as a giant gray-hued eyeball. She further abstracts the same tape dispense in \u003ci>Blind Spot\u003c/i>, a simplified circle on a creamy expanse of paper.\u003c/p>\n\u003cfigure id=\"attachment_13852642\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852642\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200.jpg\" alt=\"Installation view of 'Undersoul: Jay DeFeo' on view at San Jose Museum of Art, March 8-July 7, 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Undersoul: Jay DeFeo’ on view at San Jose Museum of Art, March 8-July 7, 2019. \u003ccite>(Photo by Frederick Liang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout \u003ci>Undersoul\u003c/i>, details speak to the precariousness of DeFeo’s life and work. A close-up photograph of the artist’s dental bridge opens the show; Schell Dickens’ essay posits that DeFeo’s use of oil paint may have made her teeth fall out. \u003ci>\u003ca href=\"https://collections.lacma.org/node/186631\" target=\"_blank\" rel=\"noopener noreferrer\">The Jewel\u003c/a>\u003c/i>, a painting she began at the same time as \u003ci>The Rose\u003c/i> as a colorful complement to it, lived under a porch for two decades before it reemerged. (DeFeo’s work has a habit of hiding from sight.)\u003c/p>\n\u003cp>But what also emerges in this small yet focused exhibition is the artist’s incredible facility with her chosen materials. Photography, collage, drawing, painting; all demonstrate her ability to transcend a subject’s inherent form (whether that was a leaf, a shoe tree, broken glass or her own work), unhinge it from reality, and open up another dimension through art.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12127869 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Undersoul: Jay DeFeo’ is on view at the San Jose Museum of Art through July 7, 2019. \u003ca href=\"https://sjmusart.org/exhibition/undersoul-jay-defeo\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "A small but focused show of Bay Area legend Jay DeFeo's little-seen photographic work reminds she was more than a one-hit wonder.",
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"description": "A small but focused show of Bay Area legend Jay DeFeo's little-seen photographic work reminds she was more than a one-hit wonder.",
"title": "There Was So Much More to Jay DeFeo Than ‘The Rose’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those with a bit of Bay Area art history under their belts, any mention of Jay DeFeo’s name invariably conjures looming visions of \u003ci>\u003ca href=\"https://whitney.org/collection/works/10075\" target=\"_blank\" rel=\"noopener noreferrer\">The Rose\u003c/a>\u003c/i>, a painting of such monumental and mythic proportions it’s often misunderstood as the artist’s entire life’s work.\u003c/p>\n\u003cp>Granted, \u003ci>The Rose\u003c/i> is a very big deal, and not just because of the amount of physical space the thing takes up. (Layered with almost 2,000 pounds of paint, the geometric starburst design is nearly 11 feet tall, 8 feet wide and 11 inches deep.) DeFeo spent eight years working on \u003ci>The Rose\u003c/i> (1958–1966), building up the surface with oil paint, wooden dowels and mica flakes. To see it in person is to stand in awe.\u003c/p>\n\u003cp>And yes, \u003ci>The Rose\u003c/i> temporarily wrecked DeFeo—physically, emotionally and creatively. But her story—and her art—didn’t stop there.\u003c/p>\n\u003cfigure id=\"attachment_13852640\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852640\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200.jpg\" alt=\"Installation view of 'Undersoul: Jay DeFeo' on view at San Jose Museum of Art, March 8-July 7, 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/01_JDF_SJMA_FLiang_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Undersoul: Jay DeFeo’ on view at San Jose Museum of Art, March 8-July 7, 2019. \u003ccite>(Photo by Frederick Liang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>\u003ca href=\"https://sjmusart.org/exhibition/undersoul-jay-defeo\" target=\"_blank\" rel=\"noopener noreferrer\">Undersoul\u003c/a>\u003c/i>, a new exhibition at the San Jose Museum of Art, co-curated by Lauren Schell Dickens and Kathryn Wade, picks up after \u003ci>The Rose\u003c/i> was walled into a conference room at the San Francisco Art Institute (not to be seen again for 16 years, when the Whitney Museum of Art organized its excavation, conservation and exhibition in 1995).\u003c/p>\n\u003cp>“What do you do with yourself—as an artist, as a person—after an undertaking like \u003ci>The Rose\u003c/i>?” the exhibition asks. The answer comes in the form of DeFeo’s previously unseen photographic works.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a three-year break from art-making, photography was DeFeo’s way back in. And instead of large-scale time-consuming projects, we see her taking photographs of her immediate surroundings—the small porch studio in her Larkspur home, still life arrangements of glassware and vegetables, and eventually, process shots of ongoing paintings and drawings. While DeFeo never exhibited her photographs as artworks during her own lifetime (she died at age 60 in 1989), they were integral to her practice.\u003c/p>\n\u003cfigure id=\"attachment_13852641\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852641\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/defeo_p1042.jpg\" alt=\"Jay DeFeo, 'Untitled,' 1971.\" width=\"1024\" height=\"1046\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-800x817.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-1020x1042.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/defeo_p1042-64x64.jpg 64w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Jay DeFeo, ‘Untitled,’ 1971. \u003ccite>(Courtesy of The Jay DeFeo Foundation; Marc Selwyn Fine Art, Los Angeles; Mitchell-Innes & Nash, New York; Galerie Frank Elbaz, Paris & Dallas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scale of these high-contrast silver gelatin prints—the smallest of which is just over 2-by-4 inches—necessitates a lean-in approach to viewing the exhibition. Nothing in the SJMA’s gallery will overwhelm you physically, but many of the images puzzle. DeFeo plays with light and texture, cropping and camera angles to render ordinary objects strange. (The exhibition’s title comes from DeFeo’s friend, poet Michael McClure, who used it to describe the spiritual and aesthetic qualities of everyday things.)\u003c/p>\n\u003cp>Through DeFeo’s lens, a serving dish holding a head of cauliflower, reflected in two small mirrors, becomes a surrealist meal. Photocopies, likely made semi-illicitly at Mills College, capture bones, drawing compasses and the gummy shapes of kneaded erasers pressed against the glass. In the mixed media on paper piece \u003ci>Three Mile Island No. 2\u003c/i> from her \u003ci>One O’clock Jump\u003c/i> series, these “undersoul” tactics render a broken tape dispenser as a giant gray-hued eyeball. She further abstracts the same tape dispense in \u003ci>Blind Spot\u003c/i>, a simplified circle on a creamy expanse of paper.\u003c/p>\n\u003cfigure id=\"attachment_13852642\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852642\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200.jpg\" alt=\"Installation view of 'Undersoul: Jay DeFeo' on view at San Jose Museum of Art, March 8-July 7, 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/03_JDF_SJMA_FLiang_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Undersoul: Jay DeFeo’ on view at San Jose Museum of Art, March 8-July 7, 2019. \u003ccite>(Photo by Frederick Liang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout \u003ci>Undersoul\u003c/i>, details speak to the precariousness of DeFeo’s life and work. A close-up photograph of the artist’s dental bridge opens the show; Schell Dickens’ essay posits that DeFeo’s use of oil paint may have made her teeth fall out. \u003ci>\u003ca href=\"https://collections.lacma.org/node/186631\" target=\"_blank\" rel=\"noopener noreferrer\">The Jewel\u003c/a>\u003c/i>, a painting she began at the same time as \u003ci>The Rose\u003c/i> as a colorful complement to it, lived under a porch for two decades before it reemerged. (DeFeo’s work has a habit of hiding from sight.)\u003c/p>\n\u003cp>But what also emerges in this small yet focused exhibition is the artist’s incredible facility with her chosen materials. Photography, collage, drawing, painting; all demonstrate her ability to transcend a subject’s inherent form (whether that was a leaf, a shoe tree, broken glass or her own work), unhinge it from reality, and open up another dimension through art.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12127869 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Undersoul: Jay DeFeo’ is on view at the San Jose Museum of Art through July 7, 2019. \u003ca href=\"https://sjmusart.org/exhibition/undersoul-jay-defeo\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "arts-centered-plan-for-kaiser-auditorium-draws-both-praise-and-doubt-in-oakland",
"title": "Arts-Centered Plan for Kaiser Auditorium Draws Both Praise and Doubt in Oakland",
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"content": "\u003cp>The Oakland Ballet has been rehearsing in Alameda, and its upcoming season will take place in Berkeley. The academy’s summer courses, meanwhile, occur in Hayward. And while the ballet company has offices in downtown Oakland, it’s paying more than ten times what it was paying two years ago for a fraction of the space, explained Artistic Director Graham Lustig. “So you can imagine the relief it’d be to bring everything under one roof with an adjacent venue—in Oakland,” he said.\u003c/p>\n\u003cp>Lustig was referring to the latest plan to reopen the historic Henry J. Kaiser Convention Center; this one would include more than 200,000 square feet of performance, rehearsal, storage and office space for predominantly nonprofits and arts and culture organizations. A civic fixture for most of the 20th century, the large building has been an empty, lakeside monument to disinvestment since shuttering in 2006.\u003c/p>\n\u003cp>The new proposal, announced by Orton Development with Heller Manus Architects, is less dramatic than Orton’s original plan to overhaul the city-owned building’s main auditorium. And whereas nonprofits before seemed like an afterthought, now they’re centered in a vision stressing public access to the rechristened Oakland Civic Auditorium’s rehearsal and event-friendly ballrooms and 1,500-seat Calvin Simmons Theatre.\u003c/p>\n\u003cfigure id=\"attachment_13852549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852549\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k10-800x531.jpg\" alt=\"The 1,900-seat Calvin Simmons theatre at the Oakland Civic Auditorium.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10.jpg 1025w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 1,900-seat Calvin Simmons theatre at the Oakland Civic Auditorium. \u003ccite>(Frank Deras Photography/Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The change is welcomed by groups such as the Oakland Ballet and the similarly scattered Oakland Symphony, as well as smaller nonprofits and performing arts organizations struggling in the city’s intensely competitive commercial real-estate market. But their enthusiasm comes with serious reservations: The project is behind schedule, and Orton has offered few details of rates for office and event rentals.\u003c/p>\n\u003cp>Lustig has been meeting with Orton for more than three years, and he’s provided the development company—which will also form a nonprofit to manage the building—a picture of the ballet’s finances and spatial needs. But Orton has yet to propose rates for the $52 million project to potential tenants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’d be terribly useful to have a clearer indication at this point,” Lustig said. “It’d be ridiculous to open an art center no one can afford.”\u003c/p>\n\u003cp>That was the refrain on Saturday across the street from the Oakland Civic—which sat bounded by chain-link fence and, on one side, city-sanctioned storage sheds for the homeless—at a public meeting hosted by city councilmember Nikki Fortunato Bas in Laney College Forum.\u003c/p>\n\u003cp>“We want this public asset used for the maximum public benefit,” said Bas, who was elected this past November to represent the district including the Oakland Civic, in introductory remarks to roughly 100 attendees. “Not only is there a housing crisis, there’s also a crisis in terms of us being able to preserve culture.”\u003c/p>\n\u003cfigure id=\"attachment_13852548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852548\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k9-800x531.jpg\" alt=\"The Gold Room, one of the ballrooms at the Oakland Civic Auditorium. \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k9-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k9-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k9-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k9.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Gold Room, one of the ballrooms at the Oakland Civic Auditorium. \u003ccite>(Frank Deras Photography/Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Orton project manager David Dial, whose background is in arts administration, presented slides showing a co-working-style office space in the arena; performing arts tenants would have access to, say, a basement prop shop and ballroom rehearsal spaces. Outside, meanwhile, a raised terrace would improve visibility of the building’s sculptural niches. Orton originally projected an early 2019 opening, but the redesign has pushed groundbreaking to late this summer.\u003c/p>\n\u003cp>The idea, Dial explained, is to “remove walls between organizations to lower their costs, to lower their footprint, and to think about how we can really put those organizations in community.”\u003c/p>\n\u003cp>But many speakers echoed activists who’ve scrutinized officials’ disposal of public land in recent years. “I want us to ask the hard questions, like what affordability means, what community access means,” said Elena Serrano of EastSide Arts Alliance. “The slides reminded me of Lincoln Center—a beautiful space that most of New York is completely alienated from.”\u003c/p>\n\u003cp>At the event, Dial declined to define what portion of the office space would be reserved for arts organizations or to estimate rental costs, but he provided more details in a statement to KQED.\u003c/p>\n\u003cfigure id=\"attachment_13852544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k3-800x520.jpg\" alt=\"A proposed mixed commercial space in the Oakland Civic Auditorium's large arena.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k3-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k3-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k3-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k3.jpg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A proposed mixed commercial space in the Oakland Civic Auditorium’s large arena. \u003ccite>(Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Per a tentative agreement expected to come before Oakland City Council in April, Dial said, at least 20 percent of the office space will be reserved for arts organizations. Between the basement, auditorium and second floor, Orton anticipates 450-550 workstations in addition to conference rooms and amenities accommodating an estimated 10-15 tenant organizations.\u003c/p>\n\u003cp>Programmatic rentals for the ballrooms and theatre will cost nonprofits roughly half the fee charged to for-profit companies. Dial said Orton expects to publish a detailed rent schedule “in the coming months,” and that the highest rents in the project will be less than downtown Oakland office rents, which currently average $4.66 per square foot. A draft letter-of-intent from Orton to an interested organization, which KQED reviewed, proposed $3.95 per square foot in 2017.\u003c/p>\n\u003cp>Randolph Belle of RBA Creative, who was part of a team that submitted a competing proposal to redevelop the building in 2014, called the plan a net loss for the public. “Since it’s being marketed for the arts, I’d say 50 percent of would be for arts organizations,” he said. “And $3.95 is just not tenable. That’s the kind of price that’s pushing cultural organizations out of the city.”\u003c/p>\n\u003cp>What works for relatively established outfits such as the Oakland Symphony, Belle said, generally doesn’t work for grassroots nonprofits that are most at risk of displacement. He added that the proposal serves several hundred people in a building that once served several thousand as an auditorium. “Oakland generally takes what it can get instead of getting what it wants,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13852547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k8-800x533.jpg\" alt=\"A ballroom staircase and balcony at the Oakland Civic Auditorium.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A ballroom staircase and balcony at the Oakland Civic Auditorium. \u003ccite>(Frank Deras Photography/Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Orton originally proposed a more transformative project, with a glass “building within a building” adding more square footage to the arena. In that plan, most of the space would’ve been marketed to a higher-rent commercial anchor tenant, but the design didn’t meet government standards for historic preservation. The current, lower-cost design, along with new tax credits, enabled the greater emphasis on nonprofits and arts and culture organizations, Dial said.\u003c/p>\n\u003cp>Still, among arts stakeholders there seems to be little more confidence in the project’s stabilizing potential for cultural organizations now than there was \u003ca href=\"https://www.eastbayexpress.com/oakland/will-oakland-arts-organizations-find-a-home-at-the-rehabilitated-henry-j-kaiser-convention-center/Content?oid=5046380\">in 2016\u003c/a>. “We’ve done a lot of deals where the developer promises various community uses but they’re not written into the agreement in a way that makes them required,” councilmember Rebecca Kaplan said in October 2016, adding that she wanted move beyond promises to “actual requirements.”\u003c/p>\n\u003cp>Financed by voter-approved bonds, the Oakland Civic opened in 1915 and throughout the 20th century hosted a wildly eclectic range of events. A Mel Reid-promoted gospel revue there in late 1950s included a teenage Aretha Franklin, and Martin Luther King Jr. spoke there in 1962. Bill Graham first brought the Grateful Dead there in the 1970s, and in the late 1980s it hosted Public Enemy.\u003c/p>\n\u003cfigure id=\"attachment_13852545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k4-800x534.jpg\" alt=\"The existing upper-level seating in the Oakland Civic Auditorium arena, which would remain intact.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The existing upper-level seating in the Oakland Civic Auditorium arena, which would remain intact. \u003ccite>(Frank Deras Photography/Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Losing money, though, the facility shuttered in 2006. (In 2012, Occupy protesters were arrested en masse as they tried to expropriate the building.) In 2014, the city requested redevelopment proposals, conditioning that the Calvin Simmons Theatre, named for the late Oakland Symphony conductor, remain a performing arts venue. Orton commissioned a report on financially viable uses that ruled out concerts and conventions in the arena.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Bas said she’s compiling feedback received Saturday at Laney Forum. “We are committed to working with the City and Orton to answer these questions and ensure this project meets the needs of Oakland artists and nonprofits—particularly artists of color and organizations whose contributions are and have been critical to preserving the cultural fabric of Oakland,” she said.\u003c/p>\n\n",
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"title": "Arts-Centered Plan for Kaiser Auditorium Draws Both Praise and Doubt in Oakland | KQED",
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"headline": "Arts-Centered Plan for Kaiser Auditorium Draws Both Praise and Doubt in Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oakland Ballet has been rehearsing in Alameda, and its upcoming season will take place in Berkeley. The academy’s summer courses, meanwhile, occur in Hayward. And while the ballet company has offices in downtown Oakland, it’s paying more than ten times what it was paying two years ago for a fraction of the space, explained Artistic Director Graham Lustig. “So you can imagine the relief it’d be to bring everything under one roof with an adjacent venue—in Oakland,” he said.\u003c/p>\n\u003cp>Lustig was referring to the latest plan to reopen the historic Henry J. Kaiser Convention Center; this one would include more than 200,000 square feet of performance, rehearsal, storage and office space for predominantly nonprofits and arts and culture organizations. A civic fixture for most of the 20th century, the large building has been an empty, lakeside monument to disinvestment since shuttering in 2006.\u003c/p>\n\u003cp>The new proposal, announced by Orton Development with Heller Manus Architects, is less dramatic than Orton’s original plan to overhaul the city-owned building’s main auditorium. And whereas nonprofits before seemed like an afterthought, now they’re centered in a vision stressing public access to the rechristened Oakland Civic Auditorium’s rehearsal and event-friendly ballrooms and 1,500-seat Calvin Simmons Theatre.\u003c/p>\n\u003cfigure id=\"attachment_13852549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852549\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k10-800x531.jpg\" alt=\"The 1,900-seat Calvin Simmons theatre at the Oakland Civic Auditorium.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10.jpg 1025w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 1,900-seat Calvin Simmons theatre at the Oakland Civic Auditorium. \u003ccite>(Frank Deras Photography/Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The change is welcomed by groups such as the Oakland Ballet and the similarly scattered Oakland Symphony, as well as smaller nonprofits and performing arts organizations struggling in the city’s intensely competitive commercial real-estate market. But their enthusiasm comes with serious reservations: The project is behind schedule, and Orton has offered few details of rates for office and event rentals.\u003c/p>\n\u003cp>Lustig has been meeting with Orton for more than three years, and he’s provided the development company—which will also form a nonprofit to manage the building—a picture of the ballet’s finances and spatial needs. But Orton has yet to propose rates for the $52 million project to potential tenants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’d be terribly useful to have a clearer indication at this point,” Lustig said. “It’d be ridiculous to open an art center no one can afford.”\u003c/p>\n\u003cp>That was the refrain on Saturday across the street from the Oakland Civic—which sat bounded by chain-link fence and, on one side, city-sanctioned storage sheds for the homeless—at a public meeting hosted by city councilmember Nikki Fortunato Bas in Laney College Forum.\u003c/p>\n\u003cp>“We want this public asset used for the maximum public benefit,” said Bas, who was elected this past November to represent the district including the Oakland Civic, in introductory remarks to roughly 100 attendees. “Not only is there a housing crisis, there’s also a crisis in terms of us being able to preserve culture.”\u003c/p>\n\u003cfigure id=\"attachment_13852548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852548\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k9-800x531.jpg\" alt=\"The Gold Room, one of the ballrooms at the Oakland Civic Auditorium. \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k9-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k9-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k9-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k9.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Gold Room, one of the ballrooms at the Oakland Civic Auditorium. \u003ccite>(Frank Deras Photography/Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Orton project manager David Dial, whose background is in arts administration, presented slides showing a co-working-style office space in the arena; performing arts tenants would have access to, say, a basement prop shop and ballroom rehearsal spaces. Outside, meanwhile, a raised terrace would improve visibility of the building’s sculptural niches. Orton originally projected an early 2019 opening, but the redesign has pushed groundbreaking to late this summer.\u003c/p>\n\u003cp>The idea, Dial explained, is to “remove walls between organizations to lower their costs, to lower their footprint, and to think about how we can really put those organizations in community.”\u003c/p>\n\u003cp>But many speakers echoed activists who’ve scrutinized officials’ disposal of public land in recent years. “I want us to ask the hard questions, like what affordability means, what community access means,” said Elena Serrano of EastSide Arts Alliance. “The slides reminded me of Lincoln Center—a beautiful space that most of New York is completely alienated from.”\u003c/p>\n\u003cp>At the event, Dial declined to define what portion of the office space would be reserved for arts organizations or to estimate rental costs, but he provided more details in a statement to KQED.\u003c/p>\n\u003cfigure id=\"attachment_13852544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k3-800x520.jpg\" alt=\"A proposed mixed commercial space in the Oakland Civic Auditorium's large arena.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k3-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k3-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k3-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k3.jpg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A proposed mixed commercial space in the Oakland Civic Auditorium’s large arena. \u003ccite>(Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Per a tentative agreement expected to come before Oakland City Council in April, Dial said, at least 20 percent of the office space will be reserved for arts organizations. Between the basement, auditorium and second floor, Orton anticipates 450-550 workstations in addition to conference rooms and amenities accommodating an estimated 10-15 tenant organizations.\u003c/p>\n\u003cp>Programmatic rentals for the ballrooms and theatre will cost nonprofits roughly half the fee charged to for-profit companies. Dial said Orton expects to publish a detailed rent schedule “in the coming months,” and that the highest rents in the project will be less than downtown Oakland office rents, which currently average $4.66 per square foot. A draft letter-of-intent from Orton to an interested organization, which KQED reviewed, proposed $3.95 per square foot in 2017.\u003c/p>\n\u003cp>Randolph Belle of RBA Creative, who was part of a team that submitted a competing proposal to redevelop the building in 2014, called the plan a net loss for the public. “Since it’s being marketed for the arts, I’d say 50 percent of would be for arts organizations,” he said. “And $3.95 is just not tenable. That’s the kind of price that’s pushing cultural organizations out of the city.”\u003c/p>\n\u003cp>What works for relatively established outfits such as the Oakland Symphony, Belle said, generally doesn’t work for grassroots nonprofits that are most at risk of displacement. He added that the proposal serves several hundred people in a building that once served several thousand as an auditorium. “Oakland generally takes what it can get instead of getting what it wants,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13852547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k8-800x533.jpg\" alt=\"A ballroom staircase and balcony at the Oakland Civic Auditorium.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A ballroom staircase and balcony at the Oakland Civic Auditorium. \u003ccite>(Frank Deras Photography/Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Orton originally proposed a more transformative project, with a glass “building within a building” adding more square footage to the arena. In that plan, most of the space would’ve been marketed to a higher-rent commercial anchor tenant, but the design didn’t meet government standards for historic preservation. The current, lower-cost design, along with new tax credits, enabled the greater emphasis on nonprofits and arts and culture organizations, Dial said.\u003c/p>\n\u003cp>Still, among arts stakeholders there seems to be little more confidence in the project’s stabilizing potential for cultural organizations now than there was \u003ca href=\"https://www.eastbayexpress.com/oakland/will-oakland-arts-organizations-find-a-home-at-the-rehabilitated-henry-j-kaiser-convention-center/Content?oid=5046380\">in 2016\u003c/a>. “We’ve done a lot of deals where the developer promises various community uses but they’re not written into the agreement in a way that makes them required,” councilmember Rebecca Kaplan said in October 2016, adding that she wanted move beyond promises to “actual requirements.”\u003c/p>\n\u003cp>Financed by voter-approved bonds, the Oakland Civic opened in 1915 and throughout the 20th century hosted a wildly eclectic range of events. A Mel Reid-promoted gospel revue there in late 1950s included a teenage Aretha Franklin, and Martin Luther King Jr. spoke there in 1962. Bill Graham first brought the Grateful Dead there in the 1970s, and in the late 1980s it hosted Public Enemy.\u003c/p>\n\u003cfigure id=\"attachment_13852545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k4-800x534.jpg\" alt=\"The existing upper-level seating in the Oakland Civic Auditorium arena, which would remain intact.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The existing upper-level seating in the Oakland Civic Auditorium arena, which would remain intact. \u003ccite>(Frank Deras Photography/Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Losing money, though, the facility shuttered in 2006. (In 2012, Occupy protesters were arrested en masse as they tried to expropriate the building.) In 2014, the city requested redevelopment proposals, conditioning that the Calvin Simmons Theatre, named for the late Oakland Symphony conductor, remain a performing arts venue. Orton commissioned a report on financially viable uses that ruled out concerts and conventions in the arena.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bas said she’s compiling feedback received Saturday at Laney Forum. “We are committed to working with the City and Orton to answer these questions and ensure this project meets the needs of Oakland artists and nonprofits—particularly artists of color and organizations whose contributions are and have been critical to preserving the cultural fabric of Oakland,” she said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Porter Robinson to Change Multiverse Festival Name After Oakland Organizers' Protests",
"headTitle": "Porter Robinson to Change Multiverse Festival Name After Oakland Organizers’ Protests | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Update:\u003c/strong> After KQED’s report Thursday, on March 8, Porter Robinson announced on \u003ca href=\"https://www.facebook.com/events/343475346293395/?active_tab=discussion\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> that he changed the name of Multiverse Festival to Second Sky Festival after becoming aware of the Multivrs is Illuminated. “i feel like the right thing to do is change the name of our festival,” he wrote, announcing the name change. He continued, “(to my fans, please respect my decision here & respect the other event).”\u003c/em>\u003c/p>\n\u003cp>On March 4, Grammy-nominated electronic music producer Porter Robinson announced a partnership with live music promoter Goldenvoice to bring a new festival to Oakland’s Middle Harbor Shoreline Park in June: \u003ca href=\"https://multiversefest.com/\" target=\"_blank\" rel=\"noopener\">Multiverse Festival\u003c/a>.\u003c/p>\n\u003cp>Robinson quickly encountered backlash, however, as Oakland is already home to a volunteer-run, donation-based music festival called \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener\">the Multivrs is Illuminated\u003c/a>. The Multivrs is Illuminated, which debuted in 2017 as the Universe is Lit and changed its name in 2018, centers black and brown LGBTQ artists working in punk and experimental music, and features local and national underground artists.\u003c/p>\n\u003cp>Jade Ariana Fair and Shawna Shanté Scroggins, organizers of the Multivrs is Illuminated, aired their grievances on March 6 in \u003ca href=\"https://www.instagram.com/p/BusDvp6Bc0N/\" target=\"_blank\" rel=\"noopener\">an open letter\u003c/a> addressed to Robinson and Goldenvoice on Instagram.\u003c/p>\n\u003cp>After KQED inquired about the festival’s name, a representative for Multiverse Festival wrote in an email on March 7: “We have been made aware of the Multivrs is Illuminated and are currently in the process of changing the name.” (At press time, the name remains the same on the Multiverse Festival’s promotional materials and social media accounts. Goldenvoice did not return KQED’s request for comment for this story.)\u003c/p>\n\u003cp>https://www.instagram.com/p/BusDvp6Bc0N/\u003c/p>\n\u003cp>In contrast to the grassroots approach of the Multivrs is Illuminated, the Multiverse Festival is presented by Goldenvoice, a subsidiary of promotions giant AEG, which puts on Coachella, Stagecoach, FYF Fest and other large-scale music festivals across the country. Tickets cost $75-$95, and the lineup stars dubstep producer G Jones and electropop band Kero Kero Bonito.\u003c/p>\n\u003cp>Scroggins and Fair say Goldenvoice’s Multiverse marketing push has eclipsed their event’s online presence, and is emblematic of a larger trend of moneyed out-of-towners coming to the Bay Area and displacing local culture. The two also accuse Robinson and Goldenvoice of failing to do their due diligence to research Oakland’s existing festivals: a Google search would have yielded media coverage for their festival in the \u003cem>San Francisco Chronicle\u003c/em>, the \u003cem>East Bay Express\u003c/em>, KQED Arts, \u003cem>MaximumRockNRoll\u003c/em>, AJ+ and elsewhere. \u003cspan style=\"font-weight: 400\">[aside postID=\"arts_13838574\"]\u003c/span>\u003c/p>\n\u003cp>“One of our frustrations is that the entity Porter Robinson is working with is a multimillion dollar corporation. It’s a subsidiary of the second-largest producer of live music events in the world,” says Fair, referring to AEG. “They somehow didn’t have the market research, or didn’t think it was necessary, to see if anyone in Oakland was operating under a similar name doing a similar thing. That negligence is part the reason we’re so upset.”\u003c/p>\n\u003cp>“Just because people don’t have a lot of money doesn’t mean their creative ideas can be trampled on, reimagined or taken away,” says Scroggins.\u003c/p>\n\u003cp>Scroggins explains that she, Fair and their co-founders Sharmi Basu and Titania Kumeh originally conceptualized the Multivrs is Illuminated as a way to uplift artists from marginalized communities in the face of gentrification. Scroggins says Multivrs “was our love letter, our way of giving back to a city [where] so many people come to take what they can and not think about who they’re displacing, what was there before. We wanted to pay homage to the long line of radical and revolutionary music, events, organizing that has taken place [in Oakland].” The fest is due to return in the summer of 2020. [aside postID=\"arts_13846754\"]\u003c/p>\n\u003cp>Scroggins and Fair point out that Robinson’s Multiverse Festival is the latest development in a shifting live music landscape in the Bay Area—one where local artists are losing out on opportunities to corporate-backed acts. The City of Oakland shuttered several underground venues after the 2016 Ghost Ship fire. And as independent venues such as the Hemlock Tavern and Elbo Room San Francisco closed in 2018, Goldenvoice took control of talent buying at the previously locally booked Slim’s and Great American Music Hall, a move Bay Area musicians and promoters say means fewer local opportunities.\u003c/p>\n\u003cp>“In my eyes, [it’s part of] a whole chain of events taking away opportunities from people who don’t have major funding or major resources to create cultural spaces,” says Scroggins.\u003c/p>\n\u003cp>“I think it would be cool if Goldenvoice would give the means and backing to the amazing art collectives and party collectives that already exist [in Oakland],” she continues.\u003c/p>\n\u003cfigure id=\"attachment_13852496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852496\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/multivrs-081018-Delish-Da-Goddess-SHOTBYGUERRILLA-PROARTS-DSC00686-800x450.jpg\" alt=\"Dalish Da Goddess performs at Oakland festival the Multivrs is Illuminated in August 2018.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/multivrs-081018-Delish-Da-Goddess-SHOTBYGUERRILLA-PROARTS-DSC00686-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/multivrs-081018-Delish-Da-Goddess-SHOTBYGUERRILLA-PROARTS-DSC00686-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/multivrs-081018-Delish-Da-Goddess-SHOTBYGUERRILLA-PROARTS-DSC00686-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/multivrs-081018-Delish-Da-Goddess-SHOTBYGUERRILLA-PROARTS-DSC00686-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/multivrs-081018-Delish-Da-Goddess-SHOTBYGUERRILLA-PROARTS-DSC00686-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/multivrs-081018-Delish-Da-Goddess-SHOTBYGUERRILLA-PROARTS-DSC00686.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dalish Da Goddess performs at Oakland festival the Multivrs is Illuminated in August 2018. \u003ccite>(Guerrilla Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In their open letter, Fair and Scroggins requested that Robinson and Goldenvoice publicly apologize and donate to the Multivrs is Illuminated to support their next festival, in addition to the name change. When they and their supporters commented on Robinson’s Multiverse Festival Instagram page to voice concerns about the name, hundreds of Robinson’s fans fired back. Some of them used racist and sexist language, and accused Fair and Scroggins of “making it about race.” “This is why no one takes LGBTQ shit seriously,” one user wrote.\u003c/p>\n\u003cp>“Literally his fan base has called us a bunch of bums; they’ve called our festival a swap meet of a festival,” says Fair. “To see the reaction of people being dismissive on the basis of race, class and gender—that’s why we created [our] event: to uplift the people who are constantly dismissed and disenfranchised based on race, class and gender.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Update:\u003c/strong> After KQED’s report Thursday, on March 8, Porter Robinson announced on \u003ca href=\"https://www.facebook.com/events/343475346293395/?active_tab=discussion\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> that he changed the name of Multiverse Festival to Second Sky Festival after becoming aware of the Multivrs is Illuminated. “i feel like the right thing to do is change the name of our festival,” he wrote, announcing the name change. He continued, “(to my fans, please respect my decision here & respect the other event).”\u003c/em>\u003c/p>\n\u003cp>On March 4, Grammy-nominated electronic music producer Porter Robinson announced a partnership with live music promoter Goldenvoice to bring a new festival to Oakland’s Middle Harbor Shoreline Park in June: \u003ca href=\"https://multiversefest.com/\" target=\"_blank\" rel=\"noopener\">Multiverse Festival\u003c/a>.\u003c/p>\n\u003cp>Robinson quickly encountered backlash, however, as Oakland is already home to a volunteer-run, donation-based music festival called \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener\">the Multivrs is Illuminated\u003c/a>. The Multivrs is Illuminated, which debuted in 2017 as the Universe is Lit and changed its name in 2018, centers black and brown LGBTQ artists working in punk and experimental music, and features local and national underground artists.\u003c/p>\n\u003cp>Jade Ariana Fair and Shawna Shanté Scroggins, organizers of the Multivrs is Illuminated, aired their grievances on March 6 in \u003ca href=\"https://www.instagram.com/p/BusDvp6Bc0N/\" target=\"_blank\" rel=\"noopener\">an open letter\u003c/a> addressed to Robinson and Goldenvoice on Instagram.\u003c/p>\n\u003cp>After KQED inquired about the festival’s name, a representative for Multiverse Festival wrote in an email on March 7: “We have been made aware of the Multivrs is Illuminated and are currently in the process of changing the name.” (At press time, the name remains the same on the Multiverse Festival’s promotional materials and social media accounts. Goldenvoice did not return KQED’s request for comment for this story.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In contrast to the grassroots approach of the Multivrs is Illuminated, the Multiverse Festival is presented by Goldenvoice, a subsidiary of promotions giant AEG, which puts on Coachella, Stagecoach, FYF Fest and other large-scale music festivals across the country. Tickets cost $75-$95, and the lineup stars dubstep producer G Jones and electropop band Kero Kero Bonito.\u003c/p>\n\u003cp>Scroggins and Fair say Goldenvoice’s Multiverse marketing push has eclipsed their event’s online presence, and is emblematic of a larger trend of moneyed out-of-towners coming to the Bay Area and displacing local culture. The two also accuse Robinson and Goldenvoice of failing to do their due diligence to research Oakland’s existing festivals: a Google search would have yielded media coverage for their festival in the \u003cem>San Francisco Chronicle\u003c/em>, the \u003cem>East Bay Express\u003c/em>, KQED Arts, \u003cem>MaximumRockNRoll\u003c/em>, AJ+ and elsewhere. \u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>“One of our frustrations is that the entity Porter Robinson is working with is a multimillion dollar corporation. It’s a subsidiary of the second-largest producer of live music events in the world,” says Fair, referring to AEG. “They somehow didn’t have the market research, or didn’t think it was necessary, to see if anyone in Oakland was operating under a similar name doing a similar thing. That negligence is part the reason we’re so upset.”\u003c/p>\n\u003cp>“Just because people don’t have a lot of money doesn’t mean their creative ideas can be trampled on, reimagined or taken away,” says Scroggins.\u003c/p>\n\u003cp>Scroggins explains that she, Fair and their co-founders Sharmi Basu and Titania Kumeh originally conceptualized the Multivrs is Illuminated as a way to uplift artists from marginalized communities in the face of gentrification. Scroggins says Multivrs “was our love letter, our way of giving back to a city [where] so many people come to take what they can and not think about who they’re displacing, what was there before. We wanted to pay homage to the long line of radical and revolutionary music, events, organizing that has taken place [in Oakland].” The fest is due to return in the summer of 2020. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Scroggins and Fair point out that Robinson’s Multiverse Festival is the latest development in a shifting live music landscape in the Bay Area—one where local artists are losing out on opportunities to corporate-backed acts. The City of Oakland shuttered several underground venues after the 2016 Ghost Ship fire. And as independent venues such as the Hemlock Tavern and Elbo Room San Francisco closed in 2018, Goldenvoice took control of talent buying at the previously locally booked Slim’s and Great American Music Hall, a move Bay Area musicians and promoters say means fewer local opportunities.\u003c/p>\n\u003cp>“In my eyes, [it’s part of] a whole chain of events taking away opportunities from people who don’t have major funding or major resources to create cultural spaces,” says Scroggins.\u003c/p>\n\u003cp>“I think it would be cool if Goldenvoice would give the means and backing to the amazing art collectives and party collectives that already exist [in Oakland],” she continues.\u003c/p>\n\u003cfigure id=\"attachment_13852496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852496\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/multivrs-081018-Delish-Da-Goddess-SHOTBYGUERRILLA-PROARTS-DSC00686-800x450.jpg\" alt=\"Dalish Da Goddess performs at Oakland festival the Multivrs is Illuminated in August 2018.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/multivrs-081018-Delish-Da-Goddess-SHOTBYGUERRILLA-PROARTS-DSC00686-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/multivrs-081018-Delish-Da-Goddess-SHOTBYGUERRILLA-PROARTS-DSC00686-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/multivrs-081018-Delish-Da-Goddess-SHOTBYGUERRILLA-PROARTS-DSC00686-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/multivrs-081018-Delish-Da-Goddess-SHOTBYGUERRILLA-PROARTS-DSC00686-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/multivrs-081018-Delish-Da-Goddess-SHOTBYGUERRILLA-PROARTS-DSC00686-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/multivrs-081018-Delish-Da-Goddess-SHOTBYGUERRILLA-PROARTS-DSC00686.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dalish Da Goddess performs at Oakland festival the Multivrs is Illuminated in August 2018. \u003ccite>(Guerrilla Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In their open letter, Fair and Scroggins requested that Robinson and Goldenvoice publicly apologize and donate to the Multivrs is Illuminated to support their next festival, in addition to the name change. When they and their supporters commented on Robinson’s Multiverse Festival Instagram page to voice concerns about the name, hundreds of Robinson’s fans fired back. Some of them used racist and sexist language, and accused Fair and Scroggins of “making it about race.” “This is why no one takes LGBTQ shit seriously,” one user wrote.\u003c/p>\n\u003cp>“Literally his fan base has called us a bunch of bums; they’ve called our festival a swap meet of a festival,” says Fair. “To see the reaction of people being dismissive on the basis of race, class and gender—that’s why we created [our] event: to uplift the people who are constantly dismissed and disenfranchised based on race, class and gender.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Oakland’s Betti Ono gallery, an eight-year-old mainstay of the downtown art scene, has secured a long-term lease for their nearly 2,600-square-foot gallery space in a property owned by the City of Oakland.\u003c/p>\n\u003cp>“We WON!” the gallery’s Instagram account \u003ca href=\"https://www.instagram.com/p/Bur4udcBhCk/?utm_source=ig_web_copy_link\" rel=\"noopener\" target=\"_blank\">proclaimed on Wednesday\u003c/a>. “After 7+ years of operations and advocacy we finally got our long-term lease signed today. Betti Ono is here to stay!!!!”\u003c/p>\n\u003cp>https://www.instagram.com/p/Bur4udcBhCk/\u003c/p>\n\u003cp>The seven-year lease, which stabilizes the gallery’s rent with incremental increases, gives Betti Ono the security to make both immediate changes and long-term plans. \u003c/p>\n\u003cp>Being month-to-month affected every decision made, says gallery director and founder \u003ca href=\"https://www.kqed.org/arts/13839089/bay-brilliant-anyka-barber\" rel=\"noopener\" target=\"_blank\">Anyka Barber\u003c/a>. That included how often Betti Ono presented exhibitions and programs, and which funders it was eligible to partner with. (Many granting organizations view long-term leases as a sign of fiscal health and \u003ca href=\"https://openspace.sfmoma.org/2018/06/culture-cash-part-2-oaklands-struggle-to-support-the-arts/\" rel=\"noopener\" target=\"_blank\">won’t provide support without one\u003c/a>.) Even planning an operating budget a few years ahead was impossible, Barber says, since she never knew when the city might \u003ca href=\"https://www.eastbaytimes.com/2016/03/30/drummond-soaring-rents-put-chill-on-oakland-arts/\" rel=\"noopener\" target=\"_blank\">increase their rent\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, Barber says, they can “grow in the space and dig deep” without “clouds of uncertainty” plaguing future plans. The gallery plans to apply for nonprofit status; they currently have fiscal sponsorship through fellow City of Oakland tenant Pro Arts.\u003c/p>\n\u003cp>The announcement comes as a welcome and rare bit of good news at a time when nonprofit arts spaces on both sides of the Bay struggle with landlord rent increases. San Francisco’s 48-year-old \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/galeria-de-la-raza-a-birthplace-of-chicano-art-embraces-its-exile\" rel=\"noopener\" target=\"_blank\">Galería de la Raza\u003c/a> moved out of their 24th Street gallery space and into an interim spot on Valencia Street at the end of 2018. And \u003ca href=\"https://www.kqed.org/arts/13851268/despite-doubling-budget-aggregate-space-gallery-faces-displacement\" rel=\"noopener\" target=\"_blank\">Aggregate Space Gallery\u003c/a> expects to have to leave their Oakland warehouse space at the beginning of August.\u003c/p>\n\u003cp>Barber hopes her successful lease negotiation will help Oakland forge real estate partnerships with other arts and culture organizations. “To be here now means that this should create more opportunity,” she says. “We recognized that a precedent had to be set. I’m hopeful we can help advance this as a model and even refine it.” \u003c/p>\n\u003cp>But for now, Barber and her team are simply thrilled.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are ecstatic!” she says. “I can’t even say it’s surreal because we worked so hard for it, but it feels like we really accomplished something—and that we did it arm-in-arm with our public… This is a win for the whole town, for Oakland and for black women in leadership in the arts.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s Betti Ono gallery, an eight-year-old mainstay of the downtown art scene, has secured a long-term lease for their nearly 2,600-square-foot gallery space in a property owned by the City of Oakland.\u003c/p>\n\u003cp>“We WON!” the gallery’s Instagram account \u003ca href=\"https://www.instagram.com/p/Bur4udcBhCk/?utm_source=ig_web_copy_link\" rel=\"noopener\" target=\"_blank\">proclaimed on Wednesday\u003c/a>. “After 7+ years of operations and advocacy we finally got our long-term lease signed today. Betti Ono is here to stay!!!!”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The seven-year lease, which stabilizes the gallery’s rent with incremental increases, gives Betti Ono the security to make both immediate changes and long-term plans. \u003c/p>\n\u003cp>Being month-to-month affected every decision made, says gallery director and founder \u003ca href=\"https://www.kqed.org/arts/13839089/bay-brilliant-anyka-barber\" rel=\"noopener\" target=\"_blank\">Anyka Barber\u003c/a>. That included how often Betti Ono presented exhibitions and programs, and which funders it was eligible to partner with. (Many granting organizations view long-term leases as a sign of fiscal health and \u003ca href=\"https://openspace.sfmoma.org/2018/06/culture-cash-part-2-oaklands-struggle-to-support-the-arts/\" rel=\"noopener\" target=\"_blank\">won’t provide support without one\u003c/a>.) Even planning an operating budget a few years ahead was impossible, Barber says, since she never knew when the city might \u003ca href=\"https://www.eastbaytimes.com/2016/03/30/drummond-soaring-rents-put-chill-on-oakland-arts/\" rel=\"noopener\" target=\"_blank\">increase their rent\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, Barber says, they can “grow in the space and dig deep” without “clouds of uncertainty” plaguing future plans. The gallery plans to apply for nonprofit status; they currently have fiscal sponsorship through fellow City of Oakland tenant Pro Arts.\u003c/p>\n\u003cp>The announcement comes as a welcome and rare bit of good news at a time when nonprofit arts spaces on both sides of the Bay struggle with landlord rent increases. San Francisco’s 48-year-old \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/galeria-de-la-raza-a-birthplace-of-chicano-art-embraces-its-exile\" rel=\"noopener\" target=\"_blank\">Galería de la Raza\u003c/a> moved out of their 24th Street gallery space and into an interim spot on Valencia Street at the end of 2018. And \u003ca href=\"https://www.kqed.org/arts/13851268/despite-doubling-budget-aggregate-space-gallery-faces-displacement\" rel=\"noopener\" target=\"_blank\">Aggregate Space Gallery\u003c/a> expects to have to leave their Oakland warehouse space at the beginning of August.\u003c/p>\n\u003cp>Barber hopes her successful lease negotiation will help Oakland forge real estate partnerships with other arts and culture organizations. “To be here now means that this should create more opportunity,” she says. “We recognized that a precedent had to be set. I’m hopeful we can help advance this as a model and even refine it.” \u003c/p>\n\u003cp>But for now, Barber and her team are simply thrilled.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are ecstatic!” she says. “I can’t even say it’s surreal because we worked so hard for it, but it feels like we really accomplished something—and that we did it arm-in-arm with our public… This is a win for the whole town, for Oakland and for black women in leadership in the arts.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "still-tippin-solange-at-home-in-houston",
"title": "Still Tippin': Solange At Home In Houston",
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"headTitle": "Still Tippin’: Solange At Home In Houston | KQED",
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"content": "\u003cp>At 2 a.m. Monday morning, Solange Knowles and a handful of friends were at a strip club in her native Houston, celebrating. The artist/auteur wore a \u003ca href=\"https://twitter.com/abra/status/1102570528349569025\">leopard print cowboy hat\u003c/a>, matching tube top and cut-out black pants, loose enough to twerk along with the dancers in their section. Rapping along to \u003ca href=\"https://twitter.com/abra/status/1102570528349569025/video/1\">A$AP Ferg\u003c/a> and \u003ca href=\"https://twitter.com/theestallion/status/1102602988781297664\">Megan Thee Stallion\u003c/a>, showered in red neon lights and hookah smoke haze with singles in hand, she was \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>[contextly_sidebar id=”qYTJZTHAJvWQ1Sqx5zX0jBqcwh5erf4r”]\u003c/p>\n\u003cp>The gathering was an impromptu after-party: On Friday, Solange surprise-released \u003cem>When I Get Home\u003c/em>, an album made in Houston and steeped in its hyper-local culture. On Sunday evening, she doubled down on her artistic homecoming, making the city host to an “album experience.” Public screenings of the record’s companion art film graced nine locations across her hometown, showing fans the artist’s hometown through her own eyes.\u003c/p>\n\u003cfigure id=\"attachment_13851918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg\" alt=\"'When I Get Home,' Solange.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When I Get Home,’ Solange.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>When I Get Home, \u003c/em>like the city it pays homage to, is a mosaic: screw music, jazz, R&B, trap and funk live right next to one another and often intermingle. Her sluggish, half-drawled delivery on “Down with the Clique,” “Way to the Show” and “My Skin My Logo” calls to the signature flows of Bun B, Mike Jones and Slim Thug, while chopped-up vocal samples on the album’s five interludes follow the murky remix blueprint of H-Town’s patron saint, the late \u003ca href=\"https://www.npr.org/artists/517505882/dj-screw\">DJ Screw\u003c/a>. Influences and collaborations range from Southern OGs \u003ca href=\"https://www.npr.org/2017/09/19/551787647/the-autobiography-of-gucci-mane-a-story-of-rap-and-rebirth\">Gucci Mane\u003c/a> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=18171773\">Scarface\u003c/a> to young rule-breakers like Playboi Carti, \u003ca href=\"https://www.npr.org/artists/137321239/tyler-the-creator\">Tyler, the Creator\u003c/a> and \u003ca href=\"https://www.npr.org/artists/230494985/earl-sweatshirt\">Earl Sweatshirt\u003c/a>. Transitions are marked with a church choir and Solange’s ethereal falsetto, taking the sonics from unbuttoned and guttural to holy before the trunk-rattling bass drops bring it all back down.\u003c/p>\n\u003cp>Meanwhile, the track titles — “Almeda,” “Binz,” “S McGregor,” “Exit Scott” — act as dropped pins, animating what it feels like get off the Beltway 8 highway and cruise through the streets. The album is a love note to her city, bottled with Topo Chico, Florida Water Cologne and blunt smoke, a kiss on a \u003ca href=\"https://www.facebook.com/BurnsOriginalBbq/\">Burns BBQ\u003c/a>-stained satin napkin. A stack of crisp dollar bills for V Live Saturday and a freshly pressed dress for service at St. John’s Sunday. A\u003ca href=\"https://www.youtube.com/watch?v=RKWb9MGtVmw\"> flicka da wrist\u003c/a> and a hair flip of the sew-in.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003cem>When I Get Home\u003c/em> screenings — which were simultaneously streamed on the artist’s \u003ca href=\"http://blackplanet.com/solange/\">Black Planet\u003c/a> page — took place in the Third Ward, Houston’s historical epicenter of black culture, at locations chosen for their significance to black art, business and emancipation. There was Vita Mutari, the hair salon previously owned by Solange’s mother, Miss Tina Knowles-Lawson, where the artist and her older sister, Beyoncé, spent time as kids listening to the grown folks gossip and sometimes performing for tips. There was \u003ca href=\"https://www.google.com/maps/uv?hl=en&pb=!1s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!2m22!2m2!1i80!2i80!3m1!2i20!16m16!1b1!2m2!1m1!1e1!2m2!1m1!1e3!2m2!1m1!1e5!2m2!1m1!1e4!2m2!1m1!1e6!3m1!7e115!4s/maps/place/texan%2Btire%2Band%2Bwheel/@29.7272825,-95.4764596,3a,75y,276.76h,90t/data%3D*213m4*211e1*213m2*211sPvUcYnELyTiqk_slNIBGnQ*212e0*214m2*213m1*211s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!5stexan+tire+and+wheel+-+Google+Search&imagekey=!1e2!2sPvUcYnELyTiqk_slNIBGnQ&sa=X&ved=2ahUKEwic4sLm6-vgAhWKylkKHZ_NC7AQpx8wCnoECAYQCw\">Texan Tire & Wheel\u003c/a>, the premiere shop to get your “\u003ca href=\"https://www.texanwirewheels.com/product-tag/20-inch-swangas/\">swangas\u003c/a>” fixed up for the impromptu lowrider shows on Almeda Road. There was Unity National Bank, the \u003ca href=\"http://www.unitybanktexas.com/History.aspx\">only black-owned banking institution in Texas\u003c/a>, and Emancipation Gym, the state’s oldest park and the \u003ca href=\"https://www.texasobserver.org/behind-the-new-look-of-houstons-oldest-park-a-complex-racial-history/\">only public park open to black people during Jim Crow\u003c/a>. Whether the locations were historic or contemporary, they each represented cultural touchstones that nurtured Solange into becoming one herself.\u003c/p>\n\u003cp>[contextly_sidebar id=”fk0PNUrUjkPDutigRWGEhENWyHaULQ6m”]\u003c/p>\n\u003cp>At the screening hosted at S.H.A.P.E. (Self-Help for African People through Education) Community Center on Sunday night, Solange popped up to watch the premiere of the film, which she also directed, with a live audience for the first time. In the house, local legends OG Ron C and DJ Candlestick spun chopped-and-screwed remixes as album collaborators Metro Boomin, Cassie and \u003ca href=\"https://www.npr.org/artists/486597030/abra\">Abra\u003c/a> settled into reserved seats; Miss Tina, Solange’s husband Alan Ferguson and rappers Slim Thug, Bun B and Devin the Dude also dotted the front rows. And social media savant \u003ca href=\"https://www.rollingstone.com/culture/culture-news/zola-tells-all-the-real-story-behind-the-greatest-stripper-saga-ever-tweeted-73048/\">Zola Moon\u003c/a>, who appears in the film (and will soon be \u003ca href=\"http://collider.com/zola-stripper-movie-janicza-bravo-a24/\">the subject of her own\u003c/a>), worked the room with a cup of wine while black cowboys congregated in the back wearing their Stetsons. Throughout the 33-minute showing in a rec room lit goblin-green, viewers reacted to gorgeous vignettes of Downtown Houston, \u003ca href=\"https://www.npr.org/2019/01/05/682318409/dom-flemons-presents-a-new-image-of-the-american-cowboy\">black cowpokes\u003c/a> at an Afrofuturistic rodeo, fluid choreography, trippy animations, protective hairstyles and Y2K-meets-hood-chic couture.\u003c/p>\n\u003cfigure id=\"attachment_13852394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852394\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg\" alt=\"S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange's When I Get Home film.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange’s When I Get Home film. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the showing, Solange held court with art curator and critic Antwaun Sargent for the room full of personalities she’d brought together — the bad bitches, music execs, reporters, community leaders and double-cuppers. Sitting stylish in a black bra top and white cowboy boots, she explained how pivotal coming home to Houston was for her creative process after nearly a year of touring and dealing with treating an \u003ca href=\"https://www.cnn.com/2017/12/28/entertainment/solange-autonomic-disorder/index.html\">autonomic nervous system disorder\u003c/a>. As she tells it, she quietly rented a house on Wichita Street in order to realign her body and mind — and when she felt like herself again, made music to immortalize her place of solace.\u003c/p>\n\u003cp>[contextly_sidebar id=”ShFnV1kWWoMxrgeXFX1y5tu0ct9hpTul”]\u003c/p>\n\u003cp>“I think anytime that you go through something like that, you crave and you yearn [for] things that remain the same,” she told the crowd. “I know at any time in my life I can come back here to Houston, to Third Ward, and have these anchors that really lift me up.” She giggled at mentions of the group chats that have kept her grounded, reminisced about producing the album while listening to Stevie Wonder, Sun Ra and Alice Coltrane. She was a visibly relaxed version of herself, comfortable in a space she’d created, working in a more insular mode than on her previous record. “With \u003ca href=\"https://www.npr.org/2016/11/11/501165834/weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal\">\u003cem>A Seat at the Table\u003c/em>\u003c/a>,” she explained, “I had so much to say. With this album, I had so much to feel. Words would have been reductive.”\u003c/p>\n\u003cfigure id=\"attachment_13852395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13852395 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg\" alt=\"Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that feeling is not immune to the realities that threaten to change Solange’s black-owned utopia. \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/2019/02/25/323184/texas-to-receive-652-million-in-additional-federal-funding-to-help-with-harvey-recovery/\">Recovery efforts\u003c/a> after 2017’s Hurricane Harvey have been slower in Houston’s \u003ca href=\"http://www.episcopalhealth.org/en/research/research-reports/harvey-anniversary-survey-one-year-after-hurricane-harvey-3-10-affected-texas-gulf-coast-residents-say-their-lives-remain-disrup/\">low-income and black communities\u003c/a>, and \u003ca href=\"https://www.bisnow.com/houston/news/neighborhood/houstons-historic-third-ward-on-the-chopping-block-85165\">gentrification in the Third Ward\u003c/a> has dwindled affordable housing options. In that way, \u003cem>When I Get Home\u003c/em> serves as much as a living preservation of the character of Houston as a sonic expansion of it. “Black skin, black braids / Black waves, black days / Black baes, black days / These are black-owned things / Black faith still can’t be washed away / Not even in that Florida water,” Solange rhymes in “Almeda.”\u003c/p>\n\u003cp>“It’s a snapshot of \u003cem>now\u003c/em> — of life for a black woman in America, and how the black woman chooses to define herself and express herself,” Houston rap superstar \u003ca href=\"https://www.npr.org/sections/microphonecheck/2013/11/25/247170488/bun-b-on-janis-joplin-ugk-s-label-struggles-and-his-voice\">Bun B\u003c/a> told NPR after the event. Metro Boomin, who helped produce “Stay Flo,” agreed: “It’s just a lot going on in the world, a lot going on with black people, a lot going on with people coming for our culture. This just sheds some light in a positive way.”\u003c/p>\n\u003cp>“There aren’t that many women who produce, write their own s***, direct their own. I do that all, too, so I know what it’s like to have this maelstrom in your head,” added Atlanta artist Abra, who contributed to the song “Sound of Rain.” “Just to have someone feel you, and then be able to take that ‘I feel you’ and translate it into this [project], that’s validating.”\u003c/p>\n\u003cfigure id=\"attachment_13852396\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852396\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg\" alt='\"Anytime you truly feel seen, you just feel a certain level of joy,\" Solange told the audience at a release-weekend screening of When I Get Home.' width=\"900\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-768x432.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">“Anytime you truly feel seen, you just feel a certain level of joy,” Solange told the audience at a release-weekend screening of When I Get Home. \u003ccite>(BlackPlanet.com/Solange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as it is an ode to this sense of place, \u003cem>Home\u003c/em> is also about Solange embracing her own duality — that same duality that has made Houston famous for music innovation for years. Whether it’s string-assisted and sizzurp-soaked freestyles from Screwed Up Click, the dynamic hip-hop/jazz fusion of \u003ca href=\"https://www.npr.org/2018/11/20/669722901/robert-glasper-on-how-to-get-more-young-people-into-jazz\">Robert Glasper\u003c/a> or ominous, Auto-Tuned trap amalgams from Travis Scott, Houston reinvents without losing hold of its traditions. Solange continues that creative ethos and embraces all sides of herself in the process — pushing listeners’ comfort levels into the realm of the avant-garde, but keeping the heart of it all distinctively down-home.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I can’t be a singular expression of myself. There’s too many parts, too many spaces, too many manifestations,” goes one line on the album’s “Can I Hold the Mic” interlude. There is no singular black experience, no matter where you grew up — but in asserting specific ties to her city, Solange makes her experience feel warmly universal. “Anytime you truly feel seen, you just feel a certain level of joy,” she said toward the end of her discussion at S.H.A.P.E. “That’s what home does for you. … Nothing is going to make me feel like this place does.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Still+Tippin%27%3A+Solange+At+Home+In+Houston&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Days after Solange dropped her visual album When I Get Home, the artist/auteur doubled down on her love for Houston by hosting screenings of the album's companion art film all across the city.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 2 a.m. Monday morning, Solange Knowles and a handful of friends were at a strip club in her native Houston, celebrating. The artist/auteur wore a \u003ca href=\"https://twitter.com/abra/status/1102570528349569025\">leopard print cowboy hat\u003c/a>, matching tube top and cut-out black pants, loose enough to twerk along with the dancers in their section. Rapping along to \u003ca href=\"https://twitter.com/abra/status/1102570528349569025/video/1\">A$AP Ferg\u003c/a> and \u003ca href=\"https://twitter.com/theestallion/status/1102602988781297664\">Megan Thee Stallion\u003c/a>, showered in red neon lights and hookah smoke haze with singles in hand, she was \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The gathering was an impromptu after-party: On Friday, Solange surprise-released \u003cem>When I Get Home\u003c/em>, an album made in Houston and steeped in its hyper-local culture. On Sunday evening, she doubled down on her artistic homecoming, making the city host to an “album experience.” Public screenings of the record’s companion art film graced nine locations across her hometown, showing fans the artist’s hometown through her own eyes.\u003c/p>\n\u003cfigure id=\"attachment_13851918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg\" alt=\"'When I Get Home,' Solange.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When I Get Home,’ Solange.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>When I Get Home, \u003c/em>like the city it pays homage to, is a mosaic: screw music, jazz, R&B, trap and funk live right next to one another and often intermingle. Her sluggish, half-drawled delivery on “Down with the Clique,” “Way to the Show” and “My Skin My Logo” calls to the signature flows of Bun B, Mike Jones and Slim Thug, while chopped-up vocal samples on the album’s five interludes follow the murky remix blueprint of H-Town’s patron saint, the late \u003ca href=\"https://www.npr.org/artists/517505882/dj-screw\">DJ Screw\u003c/a>. Influences and collaborations range from Southern OGs \u003ca href=\"https://www.npr.org/2017/09/19/551787647/the-autobiography-of-gucci-mane-a-story-of-rap-and-rebirth\">Gucci Mane\u003c/a> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=18171773\">Scarface\u003c/a> to young rule-breakers like Playboi Carti, \u003ca href=\"https://www.npr.org/artists/137321239/tyler-the-creator\">Tyler, the Creator\u003c/a> and \u003ca href=\"https://www.npr.org/artists/230494985/earl-sweatshirt\">Earl Sweatshirt\u003c/a>. Transitions are marked with a church choir and Solange’s ethereal falsetto, taking the sonics from unbuttoned and guttural to holy before the trunk-rattling bass drops bring it all back down.\u003c/p>\n\u003cp>Meanwhile, the track titles — “Almeda,” “Binz,” “S McGregor,” “Exit Scott” — act as dropped pins, animating what it feels like get off the Beltway 8 highway and cruise through the streets. The album is a love note to her city, bottled with Topo Chico, Florida Water Cologne and blunt smoke, a kiss on a \u003ca href=\"https://www.facebook.com/BurnsOriginalBbq/\">Burns BBQ\u003c/a>-stained satin napkin. A stack of crisp dollar bills for V Live Saturday and a freshly pressed dress for service at St. John’s Sunday. A\u003ca href=\"https://www.youtube.com/watch?v=RKWb9MGtVmw\"> flicka da wrist\u003c/a> and a hair flip of the sew-in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003cem>When I Get Home\u003c/em> screenings — which were simultaneously streamed on the artist’s \u003ca href=\"http://blackplanet.com/solange/\">Black Planet\u003c/a> page — took place in the Third Ward, Houston’s historical epicenter of black culture, at locations chosen for their significance to black art, business and emancipation. There was Vita Mutari, the hair salon previously owned by Solange’s mother, Miss Tina Knowles-Lawson, where the artist and her older sister, Beyoncé, spent time as kids listening to the grown folks gossip and sometimes performing for tips. There was \u003ca href=\"https://www.google.com/maps/uv?hl=en&pb=!1s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!2m22!2m2!1i80!2i80!3m1!2i20!16m16!1b1!2m2!1m1!1e1!2m2!1m1!1e3!2m2!1m1!1e5!2m2!1m1!1e4!2m2!1m1!1e6!3m1!7e115!4s/maps/place/texan%2Btire%2Band%2Bwheel/@29.7272825,-95.4764596,3a,75y,276.76h,90t/data%3D*213m4*211e1*213m2*211sPvUcYnELyTiqk_slNIBGnQ*212e0*214m2*213m1*211s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!5stexan+tire+and+wheel+-+Google+Search&imagekey=!1e2!2sPvUcYnELyTiqk_slNIBGnQ&sa=X&ved=2ahUKEwic4sLm6-vgAhWKylkKHZ_NC7AQpx8wCnoECAYQCw\">Texan Tire & Wheel\u003c/a>, the premiere shop to get your “\u003ca href=\"https://www.texanwirewheels.com/product-tag/20-inch-swangas/\">swangas\u003c/a>” fixed up for the impromptu lowrider shows on Almeda Road. There was Unity National Bank, the \u003ca href=\"http://www.unitybanktexas.com/History.aspx\">only black-owned banking institution in Texas\u003c/a>, and Emancipation Gym, the state’s oldest park and the \u003ca href=\"https://www.texasobserver.org/behind-the-new-look-of-houstons-oldest-park-a-complex-racial-history/\">only public park open to black people during Jim Crow\u003c/a>. Whether the locations were historic or contemporary, they each represented cultural touchstones that nurtured Solange into becoming one herself.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At the screening hosted at S.H.A.P.E. (Self-Help for African People through Education) Community Center on Sunday night, Solange popped up to watch the premiere of the film, which she also directed, with a live audience for the first time. In the house, local legends OG Ron C and DJ Candlestick spun chopped-and-screwed remixes as album collaborators Metro Boomin, Cassie and \u003ca href=\"https://www.npr.org/artists/486597030/abra\">Abra\u003c/a> settled into reserved seats; Miss Tina, Solange’s husband Alan Ferguson and rappers Slim Thug, Bun B and Devin the Dude also dotted the front rows. And social media savant \u003ca href=\"https://www.rollingstone.com/culture/culture-news/zola-tells-all-the-real-story-behind-the-greatest-stripper-saga-ever-tweeted-73048/\">Zola Moon\u003c/a>, who appears in the film (and will soon be \u003ca href=\"http://collider.com/zola-stripper-movie-janicza-bravo-a24/\">the subject of her own\u003c/a>), worked the room with a cup of wine while black cowboys congregated in the back wearing their Stetsons. Throughout the 33-minute showing in a rec room lit goblin-green, viewers reacted to gorgeous vignettes of Downtown Houston, \u003ca href=\"https://www.npr.org/2019/01/05/682318409/dom-flemons-presents-a-new-image-of-the-american-cowboy\">black cowpokes\u003c/a> at an Afrofuturistic rodeo, fluid choreography, trippy animations, protective hairstyles and Y2K-meets-hood-chic couture.\u003c/p>\n\u003cfigure id=\"attachment_13852394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852394\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg\" alt=\"S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange's When I Get Home film.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange’s When I Get Home film. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the showing, Solange held court with art curator and critic Antwaun Sargent for the room full of personalities she’d brought together — the bad bitches, music execs, reporters, community leaders and double-cuppers. Sitting stylish in a black bra top and white cowboy boots, she explained how pivotal coming home to Houston was for her creative process after nearly a year of touring and dealing with treating an \u003ca href=\"https://www.cnn.com/2017/12/28/entertainment/solange-autonomic-disorder/index.html\">autonomic nervous system disorder\u003c/a>. As she tells it, she quietly rented a house on Wichita Street in order to realign her body and mind — and when she felt like herself again, made music to immortalize her place of solace.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I think anytime that you go through something like that, you crave and you yearn [for] things that remain the same,” she told the crowd. “I know at any time in my life I can come back here to Houston, to Third Ward, and have these anchors that really lift me up.” She giggled at mentions of the group chats that have kept her grounded, reminisced about producing the album while listening to Stevie Wonder, Sun Ra and Alice Coltrane. She was a visibly relaxed version of herself, comfortable in a space she’d created, working in a more insular mode than on her previous record. “With \u003ca href=\"https://www.npr.org/2016/11/11/501165834/weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal\">\u003cem>A Seat at the Table\u003c/em>\u003c/a>,” she explained, “I had so much to say. With this album, I had so much to feel. Words would have been reductive.”\u003c/p>\n\u003cfigure id=\"attachment_13852395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13852395 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg\" alt=\"Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that feeling is not immune to the realities that threaten to change Solange’s black-owned utopia. \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/2019/02/25/323184/texas-to-receive-652-million-in-additional-federal-funding-to-help-with-harvey-recovery/\">Recovery efforts\u003c/a> after 2017’s Hurricane Harvey have been slower in Houston’s \u003ca href=\"http://www.episcopalhealth.org/en/research/research-reports/harvey-anniversary-survey-one-year-after-hurricane-harvey-3-10-affected-texas-gulf-coast-residents-say-their-lives-remain-disrup/\">low-income and black communities\u003c/a>, and \u003ca href=\"https://www.bisnow.com/houston/news/neighborhood/houstons-historic-third-ward-on-the-chopping-block-85165\">gentrification in the Third Ward\u003c/a> has dwindled affordable housing options. In that way, \u003cem>When I Get Home\u003c/em> serves as much as a living preservation of the character of Houston as a sonic expansion of it. “Black skin, black braids / Black waves, black days / Black baes, black days / These are black-owned things / Black faith still can’t be washed away / Not even in that Florida water,” Solange rhymes in “Almeda.”\u003c/p>\n\u003cp>“It’s a snapshot of \u003cem>now\u003c/em> — of life for a black woman in America, and how the black woman chooses to define herself and express herself,” Houston rap superstar \u003ca href=\"https://www.npr.org/sections/microphonecheck/2013/11/25/247170488/bun-b-on-janis-joplin-ugk-s-label-struggles-and-his-voice\">Bun B\u003c/a> told NPR after the event. Metro Boomin, who helped produce “Stay Flo,” agreed: “It’s just a lot going on in the world, a lot going on with black people, a lot going on with people coming for our culture. This just sheds some light in a positive way.”\u003c/p>\n\u003cp>“There aren’t that many women who produce, write their own s***, direct their own. I do that all, too, so I know what it’s like to have this maelstrom in your head,” added Atlanta artist Abra, who contributed to the song “Sound of Rain.” “Just to have someone feel you, and then be able to take that ‘I feel you’ and translate it into this [project], that’s validating.”\u003c/p>\n\u003cfigure id=\"attachment_13852396\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852396\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg\" alt='\"Anytime you truly feel seen, you just feel a certain level of joy,\" Solange told the audience at a release-weekend screening of When I Get Home.' width=\"900\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-768x432.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">“Anytime you truly feel seen, you just feel a certain level of joy,” Solange told the audience at a release-weekend screening of When I Get Home. \u003ccite>(BlackPlanet.com/Solange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as it is an ode to this sense of place, \u003cem>Home\u003c/em> is also about Solange embracing her own duality — that same duality that has made Houston famous for music innovation for years. Whether it’s string-assisted and sizzurp-soaked freestyles from Screwed Up Click, the dynamic hip-hop/jazz fusion of \u003ca href=\"https://www.npr.org/2018/11/20/669722901/robert-glasper-on-how-to-get-more-young-people-into-jazz\">Robert Glasper\u003c/a> or ominous, Auto-Tuned trap amalgams from Travis Scott, Houston reinvents without losing hold of its traditions. Solange continues that creative ethos and embraces all sides of herself in the process — pushing listeners’ comfort levels into the realm of the avant-garde, but keeping the heart of it all distinctively down-home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I can’t be a singular expression of myself. There’s too many parts, too many spaces, too many manifestations,” goes one line on the album’s “Can I Hold the Mic” interlude. There is no singular black experience, no matter where you grew up — but in asserting specific ties to her city, Solange makes her experience feel warmly universal. “Anytime you truly feel seen, you just feel a certain level of joy,” she said toward the end of her discussion at S.H.A.P.E. “That’s what home does for you. … Nothing is going to make me feel like this place does.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Still+Tippin%27%3A+Solange+At+Home+In+Houston&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Luke Perry, who gained instant heartthrob status as wealthy rebel Dylan McKay on “Beverly Hills, 90210,” died Monday after suffering a massive stroke, his publicist said. He was 52.\u003c/p>\n\u003cp>Perry was surrounded by family and friends when he died, publicist Arnold Robinson said. The actor had been hospitalized since last Wednesday, after a 911 call summoned medical help to his home in the Sherman Oaks section of Los Angeles.\u003c/p>\n\u003cp>“The family appreciates the outpouring of support and prayers that have been extended to Luke from around the world, and respectfully request privacy in this time of great mourning,” Robinson said in a statement. Those at Perry’s bedside included his children, Jake and Sophie; fiancée Wendy Madison Bauer; former wife, Minnie Sharp, and mother Ann Bennett.\u003c/p>\n\u003cp>Perry had played construction company owner Fred Andrews, father of main character Archie Andrews, for three seasons on “Riverdale,” the CW series that gives a dark take on “Archie” comics. A fourth season has been slated.\u003c/p>\n\u003cp>“90210” co-star Ian Ziering \u003ca href=\"https://twitter.com/IanZiering/status/1102636324903927808\" rel=\"noopener\" target=\"_blank\">paid tribute\u003c/a> to his co-star on Twitter. “I will forever bask in the loving memories we’ve shared over the last thirty years,” Ziering said. “May your journey forward be enriched by the magnificent souls who have passed before you, just like you have done here, for those you leave behind.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born and raised in rural Fredericktown, Ohio, Perry gained fame on “Beverly Hills, 90210,” which ran from 1990 to 2000. In a 2006 interview with The Associated Press, he recounted being partly inspired to pursue acting by a photo of Paul Newman his mother kept on her mirror.\u003c/p>\n\u003cp>He played out the memory of hearing his mother say, “He’s the most beautiful man in the world, honey … he’s a movie star.”\u003c/p>\n\u003cp>“I thought, ‘OK, that’s cool.’ I watched him and, yeah, man, who didn’t want to be Paul Newman?”\u003c/p>\n\u003cp>But Perry expanded his interests far beyond acting, identifying history as a passion and family a priority.\u003c/p>\n\u003cp>“When you are younger you can have only work, and I did for a long time,” he told the AP in 2006. “But it doesn’t command my attention that way anymore. A lot of the mysteries and the questions I had about it I’ve figured out, but life offers up mysteries every day.”\u003c/p>\n\u003cp>He had roles in a handful of films, including “The Fifth Element,” ″Buffy the Vampire Slayer,” ″8 Seconds” and “American Strays,” appeared in HBO’s prison drama “Oz” as a televangelist convicted of fraud, and voiced cartoons including “The Incredible Hulk” and “Mortal Kombat.”\u003c/p>\n\u003cp>He made his Broadway musical debut as Brad in the “The Rocky Horror Picture Show,” and starred on London’s West End in another stage adaptation of a film, “When Harry Met Sally.” In recent years he starred in the series “Ties That Bind” and “Body of Proof.”\u003c/p>\n\u003cp>The same day he was hospitalized, Fox TV announced that it would be running a six-episode return of “90210” featuring most of the original cast, but Perry was not among those announced.\u003c/p>\n\u003cp>On the original series, Perry’s character went from loner to part of a close-knit circle that included twins Brenda and Brandon Walsh (Shannen Doherty, Jason Priestley), but also endured a string of romantic, family and other setbacks, including drug addiction. Perry left the series in 1995 to pursue other roles, returning in 1998 for the rest of the show’s run as a guest star.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a 2011 interview with the AP, Perry said he and his male co-stars were a “really good strong core group” while the show aired and maintained close ties. The friendship and trust he shared with Priestley created a sort of “shorthand” when it came to filming, Perry said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Luke Perry, who gained instant heartthrob status as wealthy rebel Dylan McKay on “Beverly Hills, 90210,” died Monday after suffering a massive stroke, his publicist said. He was 52.\u003c/p>\n\u003cp>Perry was surrounded by family and friends when he died, publicist Arnold Robinson said. The actor had been hospitalized since last Wednesday, after a 911 call summoned medical help to his home in the Sherman Oaks section of Los Angeles.\u003c/p>\n\u003cp>“The family appreciates the outpouring of support and prayers that have been extended to Luke from around the world, and respectfully request privacy in this time of great mourning,” Robinson said in a statement. Those at Perry’s bedside included his children, Jake and Sophie; fiancée Wendy Madison Bauer; former wife, Minnie Sharp, and mother Ann Bennett.\u003c/p>\n\u003cp>Perry had played construction company owner Fred Andrews, father of main character Archie Andrews, for three seasons on “Riverdale,” the CW series that gives a dark take on “Archie” comics. A fourth season has been slated.\u003c/p>\n\u003cp>“90210” co-star Ian Ziering \u003ca href=\"https://twitter.com/IanZiering/status/1102636324903927808\" rel=\"noopener\" target=\"_blank\">paid tribute\u003c/a> to his co-star on Twitter. “I will forever bask in the loving memories we’ve shared over the last thirty years,” Ziering said. “May your journey forward be enriched by the magnificent souls who have passed before you, just like you have done here, for those you leave behind.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born and raised in rural Fredericktown, Ohio, Perry gained fame on “Beverly Hills, 90210,” which ran from 1990 to 2000. In a 2006 interview with The Associated Press, he recounted being partly inspired to pursue acting by a photo of Paul Newman his mother kept on her mirror.\u003c/p>\n\u003cp>He played out the memory of hearing his mother say, “He’s the most beautiful man in the world, honey … he’s a movie star.”\u003c/p>\n\u003cp>“I thought, ‘OK, that’s cool.’ I watched him and, yeah, man, who didn’t want to be Paul Newman?”\u003c/p>\n\u003cp>But Perry expanded his interests far beyond acting, identifying history as a passion and family a priority.\u003c/p>\n\u003cp>“When you are younger you can have only work, and I did for a long time,” he told the AP in 2006. “But it doesn’t command my attention that way anymore. A lot of the mysteries and the questions I had about it I’ve figured out, but life offers up mysteries every day.”\u003c/p>\n\u003cp>He had roles in a handful of films, including “The Fifth Element,” ″Buffy the Vampire Slayer,” ″8 Seconds” and “American Strays,” appeared in HBO’s prison drama “Oz” as a televangelist convicted of fraud, and voiced cartoons including “The Incredible Hulk” and “Mortal Kombat.”\u003c/p>\n\u003cp>He made his Broadway musical debut as Brad in the “The Rocky Horror Picture Show,” and starred on London’s West End in another stage adaptation of a film, “When Harry Met Sally.” In recent years he starred in the series “Ties That Bind” and “Body of Proof.”\u003c/p>\n\u003cp>The same day he was hospitalized, Fox TV announced that it would be running a six-episode return of “90210” featuring most of the original cast, but Perry was not among those announced.\u003c/p>\n\u003cp>On the original series, Perry’s character went from loner to part of a close-knit circle that included twins Brenda and Brandon Walsh (Shannen Doherty, Jason Priestley), but also endured a string of romantic, family and other setbacks, including drug addiction. Perry left the series in 1995 to pursue other roles, returning in 1998 for the rest of the show’s run as a guest star.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a 2011 interview with the AP, Perry said he and his male co-stars were a “really good strong core group” while the show aired and maintained close ties. The friendship and trust he shared with Priestley created a sort of “shorthand” when it came to filming, Perry said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Photographer Robert Buelteman Will Force You to See the Natural Beauty Around Us",
"headTitle": "Photographer Robert Buelteman Will Force You to See the Natural Beauty Around Us | KQED",
"content": "\u003cp dir=\"ltr\">Montara-based \u003ca href=\"https://www.buelteman.com\" target=\"_blank\" rel=\"noopener\">Robert Buelteman\u003c/a> made his reputation with breathtaking black-and-white photographs of the Peninsula’s wild spaces. His photos have helped raise money for local environmental groups like the \u003ca href=\"https://openspacetrust.org\" target=\"_blank\" rel=\"noopener\">Peninsula Open Space Trust\u003c/a> and the \u003ca href=\"https://sempervirens.org\" target=\"_blank\" rel=\"noopener\">Sempervirens Fund\u003c/a> and also the \u003ca href=\"http://lightlanguagepublications.com/eighteendaysinjune.html\" target=\"_blank\" rel=\"noopener\">Djerassi Resident Artists Program\u003c/a>.\u003c/p>\n\u003cp dir=\"ltr\">He’s enjoyed unparalleled access to San Francisco’s watershed, which is \u003ca href=\"https://www.kqed.org/news/10472738/hikers-bikers-press-for-more-public-trails-in-peninsula-watershed\" target=\"_blank\" rel=\"noopener\">largely closed off\u003c/a> from the public. But over more than two decades he got frustrated with the impact, or lack of impact, he felt his landscape photographs had on people.\u003c/p>\n\u003cp dir=\"ltr\">“I would feel I had really reached to the other side of our experience to a purely spiritual rendering, and people would look at it and say, ‘Where did you take that picture?'”\u003c/p>\n\u003cp dir=\"ltr\">As if by knowing the GPS coordinates, they could mentally file the visual away and call it a day. Buelteman wanted people to pay more attention — and \u003ci>feel\u003c/i> something.\u003c/p>\n\u003cfigure id=\"attachment_13851956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851956\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Redwood20Morning-800x800.jpeg\" alt='\"Redwood Morning,\" by Robert Buelteman.' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Redwood Morning,” by Robert Buelteman. \u003ccite>(Photo: Courtesy of Robert Buelteman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had this idea of giving up the traditional tools. It started over a bottle of wine with Sarah Adams, Ansel’s granddaughter, who’s a friend of mine at her home up in Lee Vining. She showed me this collection of images made by \u003ca href=\"http://walterchappell.com/\" target=\"_blank\" rel=\"noopener\">Walter Chapell\u003c/a>. I thought, ‘That’s something I’m going to do some day.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What Buelteman saw were Chapell’s Kirlian photographs, made with a technique named after Semyon Kirlian. In 1939, Kirlian discovered that if an object on a photographic plate is connected to a high-voltage source, an image is produced on that plate.\u003c/p>\n\u003cp>Buelteman wondered what would happen if he zapped wafer thin flowers and plant life with 80,000 volts of electricity in a darkroom. And then incorporated light painting with fiber optics. “It dawned on me that, if I combined the two, the high voltage discharge plus the light painting, using nature as a subject, I could make images that I had only dreamed of.”\u003c/p>\n\u003cp>“It really causes people to reexamine their their basic thoughts about what they’re seeing and the plants that are around us all the time,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13851957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Fallen-Lichen-2009-800x640.jpg\" alt='\"Fallen Lichen\" by Robert Buelteman' width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fallen-Lichen-2009-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fallen-Lichen-2009-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fallen-Lichen-2009-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fallen-Lichen-2009-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fallen-Lichen-2009-1200x960.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fallen-Lichen-2009.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Fallen Lichen” by Robert Buelteman \u003ccite>(Photo: Courtesy of Robert Buelteman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp dir=\"ltr\">Buelteman had a general idea when he began, but he had to figure out his own technique. “It took 3,000 sheets of [8 x 10″ sheet] film to finish the first 25 images. There’s no manual for this. It’s a trial and error process.” He plays about with a fiber optic probe smaller than a human hair. Some of that light pierces through the plant and onto the film, leaving the natural color, texture and structure of the plant.\u003c/p>\n\u003cp dir=\"ltr\">An electric blue halo shimmers around the plants, the echo of ionizing gases, and pinpoints of light illuminate details like the veins running through leaves. “It’s really taking nature and reaching for an abstract interpretation,” said Buelteman, who began exhibiting his electrical prints in 2001.\u003c/p>\n\u003cp dir=\"ltr\">The incandescent results do force you to focus in a way you simply don’t with most landscape photography. What you decide to do with your newfound respect for nature is up to you.\u003c/p>\n\u003cp>“I have had one singular motive since I picked up a camera and that was to elevate and celebrate the natural world. My goal being that, once people saw it through my eyes, they would act to preserve the biosphere.”\u003c/p>\n\u003cp dir=\"ltr\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp dir=\"ltr\">\u003cem>\u003cstrong>Biophilia: Painting with Light \u003c/strong>runs March 1 – April 15, 2019 at Art Ventures Gallery in Menlo Park. For more information, click \u003ca href=\"https://www.artventuresgallery.com\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp dir=\"ltr\">Montara-based \u003ca href=\"https://www.buelteman.com\" target=\"_blank\" rel=\"noopener\">Robert Buelteman\u003c/a> made his reputation with breathtaking black-and-white photographs of the Peninsula’s wild spaces. His photos have helped raise money for local environmental groups like the \u003ca href=\"https://openspacetrust.org\" target=\"_blank\" rel=\"noopener\">Peninsula Open Space Trust\u003c/a> and the \u003ca href=\"https://sempervirens.org\" target=\"_blank\" rel=\"noopener\">Sempervirens Fund\u003c/a> and also the \u003ca href=\"http://lightlanguagepublications.com/eighteendaysinjune.html\" target=\"_blank\" rel=\"noopener\">Djerassi Resident Artists Program\u003c/a>.\u003c/p>\n\u003cp dir=\"ltr\">He’s enjoyed unparalleled access to San Francisco’s watershed, which is \u003ca href=\"https://www.kqed.org/news/10472738/hikers-bikers-press-for-more-public-trails-in-peninsula-watershed\" target=\"_blank\" rel=\"noopener\">largely closed off\u003c/a> from the public. But over more than two decades he got frustrated with the impact, or lack of impact, he felt his landscape photographs had on people.\u003c/p>\n\u003cp dir=\"ltr\">“I would feel I had really reached to the other side of our experience to a purely spiritual rendering, and people would look at it and say, ‘Where did you take that picture?'”\u003c/p>\n\u003cp dir=\"ltr\">As if by knowing the GPS coordinates, they could mentally file the visual away and call it a day. Buelteman wanted people to pay more attention — and \u003ci>feel\u003c/i> something.\u003c/p>\n\u003cfigure id=\"attachment_13851956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851956\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Redwood20Morning-800x800.jpeg\" alt='\"Redwood Morning,\" by Robert Buelteman.' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Redwood20Morning.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Redwood Morning,” by Robert Buelteman. \u003ccite>(Photo: Courtesy of Robert Buelteman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had this idea of giving up the traditional tools. It started over a bottle of wine with Sarah Adams, Ansel’s granddaughter, who’s a friend of mine at her home up in Lee Vining. She showed me this collection of images made by \u003ca href=\"http://walterchappell.com/\" target=\"_blank\" rel=\"noopener\">Walter Chapell\u003c/a>. I thought, ‘That’s something I’m going to do some day.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What Buelteman saw were Chapell’s Kirlian photographs, made with a technique named after Semyon Kirlian. In 1939, Kirlian discovered that if an object on a photographic plate is connected to a high-voltage source, an image is produced on that plate.\u003c/p>\n\u003cp>Buelteman wondered what would happen if he zapped wafer thin flowers and plant life with 80,000 volts of electricity in a darkroom. And then incorporated light painting with fiber optics. “It dawned on me that, if I combined the two, the high voltage discharge plus the light painting, using nature as a subject, I could make images that I had only dreamed of.”\u003c/p>\n\u003cp>“It really causes people to reexamine their their basic thoughts about what they’re seeing and the plants that are around us all the time,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13851957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Fallen-Lichen-2009-800x640.jpg\" alt='\"Fallen Lichen\" by Robert Buelteman' width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fallen-Lichen-2009-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fallen-Lichen-2009-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fallen-Lichen-2009-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fallen-Lichen-2009-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fallen-Lichen-2009-1200x960.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Fallen-Lichen-2009.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Fallen Lichen” by Robert Buelteman \u003ccite>(Photo: Courtesy of Robert Buelteman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp dir=\"ltr\">Buelteman had a general idea when he began, but he had to figure out his own technique. “It took 3,000 sheets of [8 x 10″ sheet] film to finish the first 25 images. There’s no manual for this. It’s a trial and error process.” He plays about with a fiber optic probe smaller than a human hair. Some of that light pierces through the plant and onto the film, leaving the natural color, texture and structure of the plant.\u003c/p>\n\u003cp dir=\"ltr\">An electric blue halo shimmers around the plants, the echo of ionizing gases, and pinpoints of light illuminate details like the veins running through leaves. “It’s really taking nature and reaching for an abstract interpretation,” said Buelteman, who began exhibiting his electrical prints in 2001.\u003c/p>\n\u003cp dir=\"ltr\">The incandescent results do force you to focus in a way you simply don’t with most landscape photography. What you decide to do with your newfound respect for nature is up to you.\u003c/p>\n\u003cp>“I have had one singular motive since I picked up a camera and that was to elevate and celebrate the natural world. My goal being that, once people saw it through my eyes, they would act to preserve the biosphere.”\u003c/p>\n\u003cp dir=\"ltr\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp dir=\"ltr\">\u003cem>\u003cstrong>Biophilia: Painting with Light \u003c/strong>runs March 1 – April 15, 2019 at Art Ventures Gallery in Menlo Park. For more information, click \u003ca href=\"https://www.artventuresgallery.com\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Two-and-a-half years after the release of \u003cem>A Seat At The\u003c/em> \u003cem>Table\u003c/em>, Solange shares her surprise CQ visual album \u003cem>When I Get Home. \u003c/em>On Solange’s fourth full-length album since her 2002 debut, \u003cem>Solo Star, \u003c/em>the artist takes listeners on an “exploration of origin” across 19 tracks and a film meshing together static R&B, funk, Zydeco and blues. To accompany the release, Solange \u003ca href=\"https://whenigethome.solangemusic.com/\">announced\u003c/a> nine “album events” in her hometown of Houston, all taking place on March 3.\u003c/p>\n\u003cp>The release was preceded by a takeover of the early-aughts social networking site \u003ca href=\"http://blackplanet.com/solange/\">BlackPlanet.com\u003c/a>, where the 32-year-old artist shared photographs and snippets of video depicting contrasting facets of Southern black life, presented in her signature, simultaneously avant-garde and down-home demeanor; chromed-out cowboy boots paired with bustiers, cornrowed black beauties, vintage Cadillacs, perfectly laid and purposely wack wigs, strippers busting splits on the pole, cowboys waiting on the rails of the bullpen.\u003c/p>\n\u003cp>\u003cem>When I Get Home \u003c/em>is, at face value, an undeniable ode to Solange’s own hometown of Houston, Tx., where it was recorded alongside a long list of notable collaborators. Keeping the theme Houston-as-hell, samples on the album include Devin The Dude, Scarface and Mike Jones. Other contributions on the album include Tyler, The Creator (“Down With The Clique”), Cassie (“Way To The Show”) The-Dream (“Binz”), Gucci Mane (“My Skin My Logo”) and more.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Solange - Things I Imagined (Official Audio)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/upp6RAVaIN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A4WF4HvVT7VjGnVjxjoCR6w\" width=\"600\" height=\"400\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The slow burn of Solange’s previous album, \u003cem>A Seat At The Table\u003c/em>, included a months-long, festival-hopping world tour with a grandiose \u003ca href=\"#v\">stage design\u003c/a> inspired by the iconic sets of Earth, Wind & Fire, a commemorative \u003ca href=\"https://www.anteism.com/shop/a-seat-at-the-table-solange\">book\u003c/a>, and earning numerous accolades and awards. Off of first impressions, there seems little reason to expect any less with \u003cem>When I Get Home. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Solange+Goes+On+An+Exploration+Of+Origin+With+%27When+I+Get+Home%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two-and-a-half years after the release of \u003cem>A Seat At The\u003c/em> \u003cem>Table\u003c/em>, Solange shares her surprise CQ visual album \u003cem>When I Get Home. \u003c/em>On Solange’s fourth full-length album since her 2002 debut, \u003cem>Solo Star, \u003c/em>the artist takes listeners on an “exploration of origin” across 19 tracks and a film meshing together static R&B, funk, Zydeco and blues. To accompany the release, Solange \u003ca href=\"https://whenigethome.solangemusic.com/\">announced\u003c/a> nine “album events” in her hometown of Houston, all taking place on March 3.\u003c/p>\n\u003cp>The release was preceded by a takeover of the early-aughts social networking site \u003ca href=\"http://blackplanet.com/solange/\">BlackPlanet.com\u003c/a>, where the 32-year-old artist shared photographs and snippets of video depicting contrasting facets of Southern black life, presented in her signature, simultaneously avant-garde and down-home demeanor; chromed-out cowboy boots paired with bustiers, cornrowed black beauties, vintage Cadillacs, perfectly laid and purposely wack wigs, strippers busting splits on the pole, cowboys waiting on the rails of the bullpen.\u003c/p>\n\u003cp>\u003cem>When I Get Home \u003c/em>is, at face value, an undeniable ode to Solange’s own hometown of Houston, Tx., where it was recorded alongside a long list of notable collaborators. Keeping the theme Houston-as-hell, samples on the album include Devin The Dude, Scarface and Mike Jones. Other contributions on the album include Tyler, The Creator (“Down With The Clique”), Cassie (“Way To The Show”) The-Dream (“Binz”), Gucci Mane (“My Skin My Logo”) and more.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Solange - Things I Imagined (Official Audio)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/upp6RAVaIN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A4WF4HvVT7VjGnVjxjoCR6w\" width=\"600\" height=\"400\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The slow burn of Solange’s previous album, \u003cem>A Seat At The Table\u003c/em>, included a months-long, festival-hopping world tour with a grandiose \u003ca href=\"#v\">stage design\u003c/a> inspired by the iconic sets of Earth, Wind & Fire, a commemorative \u003ca href=\"https://www.anteism.com/shop/a-seat-at-the-table-solange\">book\u003c/a>, and earning numerous accolades and awards. Off of first impressions, there seems little reason to expect any less with \u003cem>When I Get Home. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Solange+Goes+On+An+Exploration+Of+Origin+With+%27When+I+Get+Home%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week marks the start of this year’s season of \u003ca href=\"https://www.theatreworks.org/education/oskar/\" target=\"_blank\" rel=\"noopener\">\u003cem>Oskar\u003c/em>\u003c/a> in schools, community centers and hospitals around the Bay Area. \u003ca href=\"https://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a> tours with a short list of plays especially focused on the challenges of being a kid today. \u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cem>Oskar and the Last Straw\u003c/em>, for instance, is about a 10 year-old lugging around what appears to be the biggest backpack known to humankind. He’s got too much to do this week: school, soccer practice, ukulele lessons, buy a present for his friend Molly’s birthday, memorize songs for Mikey’s rock concert, and deal with the pressures of mass media. “Whatever that means!” his friends on stage yell periodically.\u003c/p>\n\u003cp>When a proverbial last straw is added to his pack, Oskar falls over and can’t get up. It may sound a little silly, but the idea behind “drama therapy” — as plays like this one are called — is to introduce coping skills to elementary school kids before they’re really overwhelmed in high school.\u003c/p>\n\u003cp>The Oskar plays — there are now \u003ca href=\"https://www.whatwouldoskardo.org/the-plays-1\" target=\"_blank\" rel=\"noopener\">five in all\u003c/a> — were originally commissioned from playwright \u003ca href=\"https://www.youtube.com/channel/UCDYP5B63aDxdrZ5gPh47Dmw\" target=\"_blank\" rel=\"noopener\">Prince Gomolvilas\u003c/a> by the Palo Alto Unified School District about a decade ago, around the time it began to struggle with teen suicide spikes.\u003c/p>\n\u003cfigure id=\"attachment_13851816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851816\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-800x757.jpeg\" alt='Jomar Martinez, Vivian Marino, and Filip Hofman perform in “Oskar and the Big Bully Battle,\" touring with TheatreWorks Silicon Valley through April 5, 2019.' width=\"800\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-800x757.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-160x151.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-768x726.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-1020x965.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-1200x1135.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-1920x1816.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jomar Martinez, Vivian Marino, and Filip Hofman perform in “Oskar and the Big Bully Battle,” touring with TheatreWorks Silicon Valley through April 5, 2019. \u003ccite>(Photo: Courtesy of Scott Devine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was a response to community concerns,” said TheatreWorks’ Director of Education Lisa Giglio, who added the play topics come from suggestions forwarded by the schools, including embracing diversity, gender stereotypes and bullying.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other play on tap this year from TheatreWorks is \u003cem>Oskar the Big Bully Battle\u003c/em>. “I think we know it in our bones, sadly, that bullying would be the number one thing that people will relate to.”\u003c/p>\n\u003cp>Or #2, according to recent research from the \u003ca href=\"http://www.pewsocialtrends.org/2019/02/20/most-u-s-teens-see-anxiety-and-depression-as-a-major-problem-among-their-peers/\" target=\"_blank\" rel=\"noopener\">Pew Research Center\u003c/a> that ranks anxiety and depression as #1. Whatever the case, there is a growing body of evidence American teenagers operate under psychological stress. So it stands to reason younger children are just a few years away from needing the tools to cope.\u003c/p>\n\u003cp>“This is happening. How do we convey it to kids that haven’t yet reached that point?” said \u003cem>Oskar\u003c/em> tour stage manager Rachel Spanner, who added the series is designed to plant the seed in children’s minds that they can turn to friends, family and educators for help in later years for “coping strategies that actually work in high school and college.”\u003c/p>\n\u003cp>The plays last a little more than a half hour, and are typically attached to lesson plans ahead of the performance and Q&As after.\u003c/p>\n\u003cp>“Hopefully these plays can provide a way for kids to deal that they either didn’t think of before or were thinking of doing but didn’t know how to approach it,” said \u003ca href=\"https://www.filiphofman.com\" target=\"_blank\" rel=\"noopener\">Filip Hofman\u003c/a>, who plays Oskar this year.\u003c/p>\n\u003cp>Sadly, grown ups are often the primary source of stress in children’s lives, and they often can’t stay off social media unless their goal is total social isolation. But if they leave \u003cem>Oskar\u003c/em> plays thinking they’re not alone, it’s a positive start in the direction of psychological health.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong style=\"font-style: italic\">Oskar the Big Bully Battle\u003c/strong>\u003ci> and\u003c/i>\u003cstrong style=\"font-style: italic\"> Oskar and the Last Straw\u003c/strong>\u003ci> run through April 5, 2019, with TheatreWorks Silicon Valley performances scheduled throughout the San Francisco Bay Area. For more information, click \u003c/i>\u003cstrong style=\"font-style: italic\">\u003ca href=\"https://www.theatreworks.org/education/oskar/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week marks the start of this year’s season of \u003ca href=\"https://www.theatreworks.org/education/oskar/\" target=\"_blank\" rel=\"noopener\">\u003cem>Oskar\u003c/em>\u003c/a> in schools, community centers and hospitals around the Bay Area. \u003ca href=\"https://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a> tours with a short list of plays especially focused on the challenges of being a kid today. \u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cem>Oskar and the Last Straw\u003c/em>, for instance, is about a 10 year-old lugging around what appears to be the biggest backpack known to humankind. He’s got too much to do this week: school, soccer practice, ukulele lessons, buy a present for his friend Molly’s birthday, memorize songs for Mikey’s rock concert, and deal with the pressures of mass media. “Whatever that means!” his friends on stage yell periodically.\u003c/p>\n\u003cp>When a proverbial last straw is added to his pack, Oskar falls over and can’t get up. It may sound a little silly, but the idea behind “drama therapy” — as plays like this one are called — is to introduce coping skills to elementary school kids before they’re really overwhelmed in high school.\u003c/p>\n\u003cp>The Oskar plays — there are now \u003ca href=\"https://www.whatwouldoskardo.org/the-plays-1\" target=\"_blank\" rel=\"noopener\">five in all\u003c/a> — were originally commissioned from playwright \u003ca href=\"https://www.youtube.com/channel/UCDYP5B63aDxdrZ5gPh47Dmw\" target=\"_blank\" rel=\"noopener\">Prince Gomolvilas\u003c/a> by the Palo Alto Unified School District about a decade ago, around the time it began to struggle with teen suicide spikes.\u003c/p>\n\u003cfigure id=\"attachment_13851816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851816\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-800x757.jpeg\" alt='Jomar Martinez, Vivian Marino, and Filip Hofman perform in “Oskar and the Big Bully Battle,\" touring with TheatreWorks Silicon Valley through April 5, 2019.' width=\"800\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-800x757.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-160x151.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-768x726.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-1020x965.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-1200x1135.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-1920x1816.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jomar Martinez, Vivian Marino, and Filip Hofman perform in “Oskar and the Big Bully Battle,” touring with TheatreWorks Silicon Valley through April 5, 2019. \u003ccite>(Photo: Courtesy of Scott Devine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was a response to community concerns,” said TheatreWorks’ Director of Education Lisa Giglio, who added the play topics come from suggestions forwarded by the schools, including embracing diversity, gender stereotypes and bullying.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other play on tap this year from TheatreWorks is \u003cem>Oskar the Big Bully Battle\u003c/em>. “I think we know it in our bones, sadly, that bullying would be the number one thing that people will relate to.”\u003c/p>\n\u003cp>Or #2, according to recent research from the \u003ca href=\"http://www.pewsocialtrends.org/2019/02/20/most-u-s-teens-see-anxiety-and-depression-as-a-major-problem-among-their-peers/\" target=\"_blank\" rel=\"noopener\">Pew Research Center\u003c/a> that ranks anxiety and depression as #1. Whatever the case, there is a growing body of evidence American teenagers operate under psychological stress. So it stands to reason younger children are just a few years away from needing the tools to cope.\u003c/p>\n\u003cp>“This is happening. How do we convey it to kids that haven’t yet reached that point?” said \u003cem>Oskar\u003c/em> tour stage manager Rachel Spanner, who added the series is designed to plant the seed in children’s minds that they can turn to friends, family and educators for help in later years for “coping strategies that actually work in high school and college.”\u003c/p>\n\u003cp>The plays last a little more than a half hour, and are typically attached to lesson plans ahead of the performance and Q&As after.\u003c/p>\n\u003cp>“Hopefully these plays can provide a way for kids to deal that they either didn’t think of before or were thinking of doing but didn’t know how to approach it,” said \u003ca href=\"https://www.filiphofman.com\" target=\"_blank\" rel=\"noopener\">Filip Hofman\u003c/a>, who plays Oskar this year.\u003c/p>\n\u003cp>Sadly, grown ups are often the primary source of stress in children’s lives, and they often can’t stay off social media unless their goal is total social isolation. But if they leave \u003cem>Oskar\u003c/em> plays thinking they’re not alone, it’s a positive start in the direction of psychological health.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong style=\"font-style: italic\">Oskar the Big Bully Battle\u003c/strong>\u003ci> and\u003c/i>\u003cstrong style=\"font-style: italic\"> Oskar and the Last Straw\u003c/strong>\u003ci> run through April 5, 2019, with TheatreWorks Silicon Valley performances scheduled throughout the San Francisco Bay Area. For more information, click \u003c/i>\u003cstrong style=\"font-style: italic\">\u003ca href=\"https://www.theatreworks.org/education/oskar/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a parking garage below the Oakland teachers union headquarters on Sunday, dozens of volunteers labored over the banners, posters and picket signs illustrating a historic strike.\u003c/p>\n\u003cp>A crowd of retired and current educators, college students and district parents with their children turned out for the third “art build” supporting the Oakland Education Association, whose 3,000 members are currently \u003ca href=\"https://www.kqed.org/news/11727551/oakland-teachers-go-on-strike-in-fight-for-higher-pay-more-resources\">on strike\u003c/a> as the union negotiates for higher wages and smaller class sizes.\u003c/p>\n\u003cp>They spent the Sunday morning cutting canvas, assembling picket-signs and screen-printing images sourced from local artists, including Melanie Cervantes, Favianna Rodriguez and Micah Bazant. The dominant color was red, while the messages, rendered boldly alongside illustrations of women and backpacked children, centered on fighting for the schools teachers and students deserve.\u003c/p>\n\u003cfigure id=\"attachment_13851747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-800x533.jpg\" alt=\"Local artists contributed imagery for Oakland teachers strike banners. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Local artists contributed imagery for Oakland teachers strike banners. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Solnit, an environmental-justice organizer who’s also married to an educator in Berkeley, brought materials and helped coordinate the event. “About 15 years ago I started reaching out to artists and performers to get involved with actions because, at their core, social movements are really about storytelling,” he said. “And the arts are the most powerful way to tell stories.”\u003c/p>\n\u003cp>The model, common in activist circles, is gaining traction in public education advocacy. After organizing art builds in the Midwest, Joe Brusky and other workers with the Milwaukee Teachers Education Association got the attention of the National Education Association. Since, they’ve traveled to Los Angeles and Oakland to bring people together over pro-union artwork.\u003c/p>\n\u003cfigure id=\"attachment_13851749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-800x533.jpg\" alt='Dozens of volunteers turned out for the third \"art build\" supporting striking Oakland teachers.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dozens of volunteers turned out for the third “art build” supporting striking Oakland teachers. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Generally a union gets 5,000 copies of the sign made at the union printer and everyone’s holding the same one,” said Brusky. “That can be powerful, but it’s not as connected, it’s not as grassroots as collecting multiple images from artists in the surrounding community.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In January, Solnit and union supporters logged three 12-hour days to produce more than a thousand posters and signs, including several enormous, hand-painted banners. The event on Sunday served a practical purpose—more signs for picketers at school sites—but it was as much about continuing to build community and momentum for the labor struggle, according to Brusky.\u003c/p>\n\u003cfigure id=\"attachment_13851751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851751\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-800x533.jpg\" alt=\"David Solnit, an environmental-justice organizer, co-organized the art build. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Solnit, an environmental-justice organizer, co-organized the art build. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It gets artists talking about the movement to their followers, who come to the actions,” said Brusky, crediting art builds with a significant role in striking Los Angeles teachers recent victory. “I do social media for my union, but here, everyone’s doing social media for the union.”\u003c/p>\n\u003cp>So what makes a good pro-labor design? Some artists, he noted, worked from portraits of actual California educators. “Privatizers have made the issue of education in this country really complex,” said Brusky. “So we need to humanize and personalize the issue. In today’s world, the social media world, it’s like memes: one image with a little text goes a long way.”\u003c/p>\n\u003cp>Solnit brought his experience as an activist to the art build. Tall banners, seen resting against Oakland City Hall during recent rallies, were constructed similarly to ones at Standing Rock; they can withstand high-speed wind and rain. And the canvas is fairly thin, Solnit noted, the better to let backlight make the message pop. “So it’s like a stained-glass window,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13851746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851746\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-800x533.jpg\" alt=\"Oakland teachers strike supporters rally at Frank Ogawa Plaza in front of Oakland City Hall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland teachers strike supporters rally at Frank Ogawa Plaza in front of Oakland City Hall. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Solnit said he’s never seen a national union stress art in a labor struggle like the National Education Association, which is subsidizing Brusky and his fellow organizers to spread the art build model to other locals. On Sunday, it seemed to help with recruitment. For some volunteers, including a UC Berkeley student, it was with their first encounter with organized labor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s magic to seeing something on the picket line and knowing you made it,” Solnit said. “And as any teacher will you, at the end of the day humans are meant to make things together.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a parking garage below the Oakland teachers union headquarters on Sunday, dozens of volunteers labored over the banners, posters and picket signs illustrating a historic strike.\u003c/p>\n\u003cp>A crowd of retired and current educators, college students and district parents with their children turned out for the third “art build” supporting the Oakland Education Association, whose 3,000 members are currently \u003ca href=\"https://www.kqed.org/news/11727551/oakland-teachers-go-on-strike-in-fight-for-higher-pay-more-resources\">on strike\u003c/a> as the union negotiates for higher wages and smaller class sizes.\u003c/p>\n\u003cp>They spent the Sunday morning cutting canvas, assembling picket-signs and screen-printing images sourced from local artists, including Melanie Cervantes, Favianna Rodriguez and Micah Bazant. The dominant color was red, while the messages, rendered boldly alongside illustrations of women and backpacked children, centered on fighting for the schools teachers and students deserve.\u003c/p>\n\u003cfigure id=\"attachment_13851747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-800x533.jpg\" alt=\"Local artists contributed imagery for Oakland teachers strike banners. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Local artists contributed imagery for Oakland teachers strike banners. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Solnit, an environmental-justice organizer who’s also married to an educator in Berkeley, brought materials and helped coordinate the event. “About 15 years ago I started reaching out to artists and performers to get involved with actions because, at their core, social movements are really about storytelling,” he said. “And the arts are the most powerful way to tell stories.”\u003c/p>\n\u003cp>The model, common in activist circles, is gaining traction in public education advocacy. After organizing art builds in the Midwest, Joe Brusky and other workers with the Milwaukee Teachers Education Association got the attention of the National Education Association. Since, they’ve traveled to Los Angeles and Oakland to bring people together over pro-union artwork.\u003c/p>\n\u003cfigure id=\"attachment_13851749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-800x533.jpg\" alt='Dozens of volunteers turned out for the third \"art build\" supporting striking Oakland teachers.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dozens of volunteers turned out for the third “art build” supporting striking Oakland teachers. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Generally a union gets 5,000 copies of the sign made at the union printer and everyone’s holding the same one,” said Brusky. “That can be powerful, but it’s not as connected, it’s not as grassroots as collecting multiple images from artists in the surrounding community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In January, Solnit and union supporters logged three 12-hour days to produce more than a thousand posters and signs, including several enormous, hand-painted banners. The event on Sunday served a practical purpose—more signs for picketers at school sites—but it was as much about continuing to build community and momentum for the labor struggle, according to Brusky.\u003c/p>\n\u003cfigure id=\"attachment_13851751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851751\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-800x533.jpg\" alt=\"David Solnit, an environmental-justice organizer, co-organized the art build. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Solnit, an environmental-justice organizer, co-organized the art build. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It gets artists talking about the movement to their followers, who come to the actions,” said Brusky, crediting art builds with a significant role in striking Los Angeles teachers recent victory. “I do social media for my union, but here, everyone’s doing social media for the union.”\u003c/p>\n\u003cp>So what makes a good pro-labor design? Some artists, he noted, worked from portraits of actual California educators. “Privatizers have made the issue of education in this country really complex,” said Brusky. “So we need to humanize and personalize the issue. In today’s world, the social media world, it’s like memes: one image with a little text goes a long way.”\u003c/p>\n\u003cp>Solnit brought his experience as an activist to the art build. Tall banners, seen resting against Oakland City Hall during recent rallies, were constructed similarly to ones at Standing Rock; they can withstand high-speed wind and rain. And the canvas is fairly thin, Solnit noted, the better to let backlight make the message pop. “So it’s like a stained-glass window,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13851746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851746\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-800x533.jpg\" alt=\"Oakland teachers strike supporters rally at Frank Ogawa Plaza in front of Oakland City Hall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland teachers strike supporters rally at Frank Ogawa Plaza in front of Oakland City Hall. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Solnit said he’s never seen a national union stress art in a labor struggle like the National Education Association, which is subsidizing Brusky and his fellow organizers to spread the art build model to other locals. On Sunday, it seemed to help with recruitment. For some volunteers, including a UC Berkeley student, it was with their first encounter with organized labor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s magic to seeing something on the picket line and knowing you made it,” Solnit said. “And as any teacher will you, at the end of the day humans are meant to make things together.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Drag queens from throughout Texas’ Rio Grande Valley gathered last weekend in Brownsville to protest further construction of the border wall and bring attention to LGBTQ migrants who have been detained or are seeking asylum.\u003c/p>\n\u003cp>In a public park, a performer who goes by Beatrix Lestrange did not have to struggle to catch the attention of protesters gathered for the No Border Wall Protest Drag Show. Lestrange, whose real name is Jose Colon-Uvalles, wore a multicolored dress, a red wig, black pumps and a choker with studs.\u003c/p>\n\u003cp>“Who’s ready to have a political time?” Lestrange yelled out. The audience, standing in a semicircle and dressed in similarly vivid outfits, cheered and applauded.\u003c/p>\n\u003cp>“We’ll try to bring joy, positivity, beauty, drag, culture to whatever this is,” Lestrange said, pointing to the section of the border fence directly behind her.\u003c/p>\n\u003cp>[contextly_sidebar id=”c6xlDB9zTMe3WZypvC99MsyLtDCfz3E7″]\u003c/p>\n\u003cp>Earlier this month, Congress \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__docs.house.gov_billsthisweek_20190211_CRPT-2D116hrpt9.pdf&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=AJlZncBfTCNtTh4d3iqfyg&m=fSG4etqOUI4Ebb1VoTi8aO9g4b2zw2XtG5d_5UPrics&s=bogk8xiwb-HhzT27tkLHL1TfGH5JBEeA_7MmW8ESpDY&e=\">passed a spending bill\u003c/a> that will allocate $1.375 billion for the construction of border infrastructure in Texas’ Rio Grande Valley. Last November, U.S. Customs and Border Protection, in partnership with the Army Corps of Engineers, awarded two contracts for the construction of a border wall in south Texas. Construction is expected to begin this month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lestrange organized the drag queen protest show and is a self-proclaimed “dragtavist” — a drag queen committed to social activism.\u003c/p>\n\u003cp>“The vision was to perform in front of this wall and project our beauty and our glamour and our empowerment against this symbol that stands for hate, racism and xenophobia,” Lestrange said.\u003c/p>\n\u003cp>As Lestrange set up the music, the participants lined up and prepared their own performances.\u003c/p>\n\u003cp>Michelangelo De Vinci, whose given name is Sabino Ponce Jr., said this moment had personal resonance for him. His dad was once undocumented.\u003c/p>\n\u003cp>“I know his struggle coming over and how he built himself from the ground up with his third-grade education,” he said. “There are other people who are trying to come over here and do something better for themselves and their families — my dad being one of them — and these other people as well, so they should get a chance to live here also.”\u003c/p>\n\u003cp>The queens also sang as part of the event, including Green Day’s “American Idiot” and Lady Gaga’s “Born This Way.”\u003c/p>\n\u003cfigure id=\"attachment_13851792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851792\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-800x800.jpg\" alt='Drag queen Arina Heys wanted to participate in the No Border Wall Protest Drag Show to showcase the beauty of the Latin culture in the region. \"We are just like any other community ... lovable, humble and welcoming,\" the performer said.' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drag queen Arina Heys wanted to participate in the No Border Wall Protest Drag Show to showcase the beauty of the Latin culture in the region. “We are just like any other community … lovable, humble and welcoming,” the performer said. \u003ccite>(Reynaldo Leanos Jr./Texas Public Radio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Bocanegra, who performs as Arina Heys, wanted to participate to showcase the beauty of the Latin culture in the region.\u003c/p>\n\u003cp>“We get painted as this one negative picture,” the performer said. “We are just like any other community, and it’s extremely family oriented, it’s lovable, humble and welcoming.”\u003c/p>\n\u003cp>[contextly_sidebar id=”Bqcm5qNfueqykTyMeOUSASXtUAKvIHgI”]\u003c/p>\n\u003cp>Jorge Trujillo, a professor at the University of Texas Rio Grande Valley, was among the spectators. He said the drag show exemplifies how the Rio Grande Valley is the United States at its finest.\u003c/p>\n\u003cp>“We need to continue that movement and let people never forget that there [has] never been a more perfect opportunity to be Valley proud,” Trujillo said.\u003c/p>\n\u003cp>Lestrange wanted the protest to show solidarity with LGBTQ asylum seekers. She hoped their performance brought some awareness to the issues trans and queer migrants face.\u003c/p>\n\u003cp>[contextly_sidebar id=”lO9XI4Fu6jZXaANTb1pQ52LRyomoAhfR”]\u003c/p>\n\u003cp>“I get teary-eyed and emotional every time,” she said, “because they’re already fleeing really horrible conditions. They’re fleeing homophobia, transphobia, violence, trauma, only to come to the doorsteps of our country and encounter more of that.”\u003c/p>\n\u003cp>In less than two hours, the drag queens raised about $650. All the proceeds will go to local organizations that work with LGBTQ asylum seekers.\u003c/p>\n\u003cp>Lestrange also wants to challenge other LGBTQ communities across the country to participate in their own form of activism.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If we can do this in front of the border wall, then they can do something similar,” Lestrange said. “Do it now because tomorrow is too late.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Texas Public Radio. To see more, visit \u003ca href=\"http://tpr.org\">Texas Public Radio\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Texas+%27Dragtavist%27+Drag+Queens+Stage+Border+Wall+Protest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Drag queens from throughout Texas’ Rio Grande Valley gathered last weekend in Brownsville to protest further construction of the border wall and bring attention to LGBTQ migrants who have been detained or are seeking asylum.\u003c/p>\n\u003cp>In a public park, a performer who goes by Beatrix Lestrange did not have to struggle to catch the attention of protesters gathered for the No Border Wall Protest Drag Show. Lestrange, whose real name is Jose Colon-Uvalles, wore a multicolored dress, a red wig, black pumps and a choker with studs.\u003c/p>\n\u003cp>“Who’s ready to have a political time?” Lestrange yelled out. The audience, standing in a semicircle and dressed in similarly vivid outfits, cheered and applauded.\u003c/p>\n\u003cp>“We’ll try to bring joy, positivity, beauty, drag, culture to whatever this is,” Lestrange said, pointing to the section of the border fence directly behind her.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Earlier this month, Congress \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__docs.house.gov_billsthisweek_20190211_CRPT-2D116hrpt9.pdf&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=AJlZncBfTCNtTh4d3iqfyg&m=fSG4etqOUI4Ebb1VoTi8aO9g4b2zw2XtG5d_5UPrics&s=bogk8xiwb-HhzT27tkLHL1TfGH5JBEeA_7MmW8ESpDY&e=\">passed a spending bill\u003c/a> that will allocate $1.375 billion for the construction of border infrastructure in Texas’ Rio Grande Valley. Last November, U.S. Customs and Border Protection, in partnership with the Army Corps of Engineers, awarded two contracts for the construction of a border wall in south Texas. Construction is expected to begin this month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lestrange organized the drag queen protest show and is a self-proclaimed “dragtavist” — a drag queen committed to social activism.\u003c/p>\n\u003cp>“The vision was to perform in front of this wall and project our beauty and our glamour and our empowerment against this symbol that stands for hate, racism and xenophobia,” Lestrange said.\u003c/p>\n\u003cp>As Lestrange set up the music, the participants lined up and prepared their own performances.\u003c/p>\n\u003cp>Michelangelo De Vinci, whose given name is Sabino Ponce Jr., said this moment had personal resonance for him. His dad was once undocumented.\u003c/p>\n\u003cp>“I know his struggle coming over and how he built himself from the ground up with his third-grade education,” he said. “There are other people who are trying to come over here and do something better for themselves and their families — my dad being one of them — and these other people as well, so they should get a chance to live here also.”\u003c/p>\n\u003cp>The queens also sang as part of the event, including Green Day’s “American Idiot” and Lady Gaga’s “Born This Way.”\u003c/p>\n\u003cfigure id=\"attachment_13851792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851792\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-800x800.jpg\" alt='Drag queen Arina Heys wanted to participate in the No Border Wall Protest Drag Show to showcase the beauty of the Latin culture in the region. \"We are just like any other community ... lovable, humble and welcoming,\" the performer said.' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/mg_8236-copy_sq-99b6a50c0c34bd8b0547cc378edbfa4421eb582f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drag queen Arina Heys wanted to participate in the No Border Wall Protest Drag Show to showcase the beauty of the Latin culture in the region. “We are just like any other community … lovable, humble and welcoming,” the performer said. \u003ccite>(Reynaldo Leanos Jr./Texas Public Radio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Bocanegra, who performs as Arina Heys, wanted to participate to showcase the beauty of the Latin culture in the region.\u003c/p>\n\u003cp>“We get painted as this one negative picture,” the performer said. “We are just like any other community, and it’s extremely family oriented, it’s lovable, humble and welcoming.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Jorge Trujillo, a professor at the University of Texas Rio Grande Valley, was among the spectators. He said the drag show exemplifies how the Rio Grande Valley is the United States at its finest.\u003c/p>\n\u003cp>“We need to continue that movement and let people never forget that there [has] never been a more perfect opportunity to be Valley proud,” Trujillo said.\u003c/p>\n\u003cp>Lestrange wanted the protest to show solidarity with LGBTQ asylum seekers. She hoped their performance brought some awareness to the issues trans and queer migrants face.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I get teary-eyed and emotional every time,” she said, “because they’re already fleeing really horrible conditions. They’re fleeing homophobia, transphobia, violence, trauma, only to come to the doorsteps of our country and encounter more of that.”\u003c/p>\n\u003cp>In less than two hours, the drag queens raised about $650. All the proceeds will go to local organizations that work with LGBTQ asylum seekers.\u003c/p>\n\u003cp>Lestrange also wants to challenge other LGBTQ communities across the country to participate in their own form of activism.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If we can do this in front of the border wall, then they can do something similar,” Lestrange said. “Do it now because tomorrow is too late.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Texas Public Radio. To see more, visit \u003ca href=\"http://tpr.org\">Texas Public Radio\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Texas+%27Dragtavist%27+Drag+Queens+Stage+Border+Wall+Protest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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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": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"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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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"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.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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