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"title": "Gorgeous 'An American in Paris' Musical has Soulless Lead Character",
"headTitle": "Gorgeous ‘An American in Paris’ Musical has Soulless Lead Character | KQED",
"content": "\u003cp>To live and die for dreaminess and glamour is the inherent promise of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">An American in Paris\u003c/a>. \u003c/em>That’s evident in both Vincent Minnelli’s 1951 film starring Gene Kelly with a George Gershwin score, and choreographer and director Christopher Wheeldon’s hit 2014 Broadway adaption, currently playing at San Francisco’s Orpheum Theatre.\u003c/p>\n\u003cp>Yet that promise is compromised in the musical by anxiety, pain, and a dawning belief that the world that we yearn for, the people we fall madly in love with, might just drift out of reach. And it suggests that our fantasies might be no more than a nasty, taunting illusion to everything we hold dear.\u003c/p>\n\u003cfigure id=\"attachment_13808896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle but want to believe in true romance in 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle to believe in true romance in ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so the musical asks us to acknowledge that our lead — the painter and American of the title Jerry Mulligan — is not just navigating the trails and tribulations of love, but of the past war as well. The same is true of the supporting characters: Mulligan’s friend and fellow American, pianist-composer Arthur Hochberg; local scion and wannabe cabaret star Henri Baurel, and the love of their lives, Lise Dassin, a dancer suffering from a mysterious past and many injustices.\u003c/p>\n\u003cp>However, unlike the supporting characters, Mulligan’s anguish seems tacked-on, more character window-dressing than actual feeling. When he speaks of the ravages of war, you never believe that he knows what he’s talking about, or that he’s actually experiencing any pain. And pain, strangely enough, is the fuel this musical\u003cem> \u003c/em>relies on.\u003c/p>\n\u003cp>Wheeldon and librettist Craig Lucas make an interesting narrative bet: just how much are we willing to pay for the sweetness of a dream? I would say a lot, but much of it depends on the nature of the dream and how it’s assembled. Coming from the world of ballet, Wheeldon places an inordinate amount of faith in dance to resolve the emotional conflicts that haunt these characters.\u003c/p>\n\u003cfigure id=\"attachment_13808894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg\" alt=\"Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Mulligan chases down Dassin at the department store where she works, it is his dancing — not what he says or sings — that proves irresistible. And it is dancing that transforms the stage into a colorful explosion of light and movement, a gigantic flower literally bursting open above the frenzy of human tumult beneath it. It’s the type of glorious surrealism that 1950s MGM musicals produced with ease, and the experience of seeing Wheeldon take that aesthetic from the sound stage to the live stage is a pleasure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Our desire to see dreams come to life, to believe that anything might be possible, rests almost entirely with a realism of the spirit. If we believe in the characters, we’re ready and willing to accept the wildest incongruities. But it’s hard to believe in the dream at the center of \u003cem>An American in Paris \u003c/em>when our hero, Mulligan, is just a set of gestures. McGee Maddox is a talented actor, dancer, and singer, but there’s nothing for him to play. And in some sense, his talent keeps reminding us of what we’re missing, the emptiness at the core of our hero.\u003c/p>\n\u003cp>When Maddox tries to infuse meaning into lines about how Mulligan wishes he could forget the war or how much art means to him, the actor is stymied by the perfunctory nature of the writing. We need a leading man. But what we get instead is a function of the plot, a pastiche of qualities rather than a real human being.\u003c/p>\n\u003cp>Mulligan is clearly not an artist. He has no qualities that suggest a suffering soldier, and in many ways this character barely seems American. He’s just an idea. Now, I would say that this problem goes all the way back to the source material: the character’s an odd defect in the movie too, even with Gene Kelly’s star power. And in both cases, the failure is pure poison to the delicate fantasy before us.\u003c/p>\n\u003cfigure id=\"attachment_13808893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we’re left with is Gershwin’s majestic music, which tempers its wild forays with a rhythmic force that suggests everything you hear is part of the same world. It’s a fascinating rebuke to the bland soul at the heart of what should have been a marvelous adventure.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003cem>‘An American in Paris’ runs through Sunday, Oct. 8 at the Orpheum Theatre in San Francisco. For tickets and information click \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Despite compelling music, dance and design, there is simply no overcoming the emptiness of the American in Christopher Wheeldon's 'An American in Paris.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To live and die for dreaminess and glamour is the inherent promise of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">An American in Paris\u003c/a>. \u003c/em>That’s evident in both Vincent Minnelli’s 1951 film starring Gene Kelly with a George Gershwin score, and choreographer and director Christopher Wheeldon’s hit 2014 Broadway adaption, currently playing at San Francisco’s Orpheum Theatre.\u003c/p>\n\u003cp>Yet that promise is compromised in the musical by anxiety, pain, and a dawning belief that the world that we yearn for, the people we fall madly in love with, might just drift out of reach. And it suggests that our fantasies might be no more than a nasty, taunting illusion to everything we hold dear.\u003c/p>\n\u003cfigure id=\"attachment_13808896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle but want to believe in true romance in 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle to believe in true romance in ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so the musical asks us to acknowledge that our lead — the painter and American of the title Jerry Mulligan — is not just navigating the trails and tribulations of love, but of the past war as well. The same is true of the supporting characters: Mulligan’s friend and fellow American, pianist-composer Arthur Hochberg; local scion and wannabe cabaret star Henri Baurel, and the love of their lives, Lise Dassin, a dancer suffering from a mysterious past and many injustices.\u003c/p>\n\u003cp>However, unlike the supporting characters, Mulligan’s anguish seems tacked-on, more character window-dressing than actual feeling. When he speaks of the ravages of war, you never believe that he knows what he’s talking about, or that he’s actually experiencing any pain. And pain, strangely enough, is the fuel this musical\u003cem> \u003c/em>relies on.\u003c/p>\n\u003cp>Wheeldon and librettist Craig Lucas make an interesting narrative bet: just how much are we willing to pay for the sweetness of a dream? I would say a lot, but much of it depends on the nature of the dream and how it’s assembled. Coming from the world of ballet, Wheeldon places an inordinate amount of faith in dance to resolve the emotional conflicts that haunt these characters.\u003c/p>\n\u003cfigure id=\"attachment_13808894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg\" alt=\"Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Mulligan chases down Dassin at the department store where she works, it is his dancing — not what he says or sings — that proves irresistible. And it is dancing that transforms the stage into a colorful explosion of light and movement, a gigantic flower literally bursting open above the frenzy of human tumult beneath it. It’s the type of glorious surrealism that 1950s MGM musicals produced with ease, and the experience of seeing Wheeldon take that aesthetic from the sound stage to the live stage is a pleasure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Our desire to see dreams come to life, to believe that anything might be possible, rests almost entirely with a realism of the spirit. If we believe in the characters, we’re ready and willing to accept the wildest incongruities. But it’s hard to believe in the dream at the center of \u003cem>An American in Paris \u003c/em>when our hero, Mulligan, is just a set of gestures. McGee Maddox is a talented actor, dancer, and singer, but there’s nothing for him to play. And in some sense, his talent keeps reminding us of what we’re missing, the emptiness at the core of our hero.\u003c/p>\n\u003cp>When Maddox tries to infuse meaning into lines about how Mulligan wishes he could forget the war or how much art means to him, the actor is stymied by the perfunctory nature of the writing. We need a leading man. But what we get instead is a function of the plot, a pastiche of qualities rather than a real human being.\u003c/p>\n\u003cp>Mulligan is clearly not an artist. He has no qualities that suggest a suffering soldier, and in many ways this character barely seems American. He’s just an idea. Now, I would say that this problem goes all the way back to the source material: the character’s an odd defect in the movie too, even with Gene Kelly’s star power. And in both cases, the failure is pure poison to the delicate fantasy before us.\u003c/p>\n\u003cfigure id=\"attachment_13808893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we’re left with is Gershwin’s majestic music, which tempers its wild forays with a rhythmic force that suggests everything you hear is part of the same world. It’s a fascinating rebuke to the bland soul at the heart of what should have been a marvelous adventure.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003cem>‘An American in Paris’ runs through Sunday, Oct. 8 at the Orpheum Theatre in San Francisco. For tickets and information click \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Stockton-born, New York-based performance artist \u003ca href=\"http://www.taylormac.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac\u003c/a> and his costume designer Machine Dazzle are no ordinary historians. In \u003cem>A 24-Decade History of Popular Music\u003c/em>, their 24-hour romp through American history from 1776 to the present day, Mac, Dazzle and their vast team of collaborators use the pop hits of the ages, commentary, and off-the-wall fashions to share a unique vision of this country’s story.\u003c/p>\n\u003cp>KQED’s senior arts editor Chloe Veltman sat down with Mac and Dazzle in the costume-strewn basement of San Francisco’s Curran Theater when the artists were prepping for a run of their show.\u003c/p>\n\u003cp>Watch the report for \u003cem>KQED Newsroom\u003c/em> here:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4tor0TADs3Q\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>A 24-Decade History of Popular Music\u003c/em> runs in four, six-hour-long episodes from Friday, Sept. 15 to Sunday, Sept. 24 at the Curran Theater in San Francisco. For more information, click \u003ca href=\"https://sfcurran.com/shows/taylor-mac/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stanford Live is also presenting a 3-hour-long, abridged version of the show at the Bing Concert Hall on the Stanford Campus on Wednesday, Sept. 27. Information \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg\" alt=\"Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Stockton-born, New York-based performance artist \u003ca href=\"http://www.taylormac.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac\u003c/a> and his costume designer Machine Dazzle are no ordinary historians. In \u003cem>A 24-Decade History of Popular Music\u003c/em>, their 24-hour romp through American history from 1776 to the present day, Mac, Dazzle and their vast team of collaborators use the pop hits of the ages, commentary, and off-the-wall fashions to share a unique vision of this country’s story.\u003c/p>\n\u003cp>KQED’s senior arts editor Chloe Veltman sat down with Mac and Dazzle in the costume-strewn basement of San Francisco’s Curran Theater when the artists were prepping for a run of their show.\u003c/p>\n\u003cp>Watch the report for \u003cem>KQED Newsroom\u003c/em> here:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4tor0TADs3Q'\n title='//www.youtube.com/embed/4tor0TADs3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A 24-Decade History of Popular Music\u003c/em> runs in four, six-hour-long episodes from Friday, Sept. 15 to Sunday, Sept. 24 at the Curran Theater in San Francisco. For more information, click \u003ca href=\"https://sfcurran.com/shows/taylor-mac/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stanford Live is also presenting a 3-hour-long, abridged version of the show at the Bing Concert Hall on the Stanford Campus on Wednesday, Sept. 27. Information \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg\" alt=\"Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ever since the \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Gay Men’s Chorus\u003c/a> decided to cancel its planned international tour following the results of last November’s presidential elections and travel to Alabama, Mississippi and other southern states instead, security has been top of mind.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/RDnews/2017/09/VeltmanGayMensChorus.mp3\" /]\u003c/p>\n\u003cp>“Our concern ranges from personal safety to, you know, a bomb threat,” says the ensemble’s executive director, Chris Verdugo.\u003c/p>\n\u003cp>But in light of last month’s far-right rally in Charlottesville and subsequent protests, the chorus has decided to double the security budget for its upcoming “Lavender Pen Tour.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are looking to \u003ca href=\"https://tickets.vendini.com/donation-software.html?d=2bf42d51da7ac0227ffb2b2cba15bff3&t=donation&vqitq=e5a61820-e3db-409f-8a28-35e1b70da7e9&vqitp=34d9e8f9-949d-41a3-b9a6-51936e9435de&vqitts=1505339521&vqitc=vendini&vqite=itl&vqitrt=Safetynet&vqith=5801acd9b828164a1288cc5fe666da50\" target=\"_blank\" rel=\"noopener noreferrer\">raise $30,000 in 30 days\u003c/a> for our enhanced security measures,” says chorus board chair Steve Huffines. “Based on our conversations with local law enforcement officials, we believe that the odds of us encountering a hostile event are actually quite low. But the board is committed to erring on the side of caution to insure that everyone on the Lavender Pen Tour is kept safe throughout our journey.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lavender Pen Tour (Promo Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/Ph7K483BKWI?start=2&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Tour security director and retired police sergeant Karen Alberts is keeping the the details of the security plan under wraps. Her team of four — three of them women with anti-terrorism backgrounds — have been coordinating plans with state and federal agencies in the places the singers will be visiting, like Birmingham, AL and Knoxville, TN.\u003c/p>\n\u003cp>“Things have changed a bit since Charlottesville,” Alberts says. “All the local law enforcement agencies in the areas we’re going to be traveling to are aware of our presence.”\u003c/p>\n\u003cp>Alberts and her team are also working with the members of both the San Francisco Gay Men’s Chorus and the \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Interfaith Gospel Choir\u003c/a> (the two ensembles will be touring together) on personal safety. “We’re teaching them the basics: don’t go out alone, don’t engage, safety in numbers, that type of thing.”\u003c/p>\n\u003cp>Meanwhile, the choir’s callout for funds to pay for the extra security has caused a backlash on Twitter, particularly from people in the south.\u003c/p>\n\u003cp>https://twitter.com/ryburke/status/907962985590685696\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>\u003cem>The Lavender Pen Tour happens Sunday, Oct. 8 though Saturday, Oct. 14 in cities across Alabama, Mississippi, North Carolina, Florida and Tennessee. \u003c/em>\u003c/p>\n\u003cp>\u003cem>There will be a send-off concert on Saturday, Sept. 30 at Grace Cathedral in San Francisco. Tickets and information \u003ca href=\"https://www.cityboxoffice.com/ordertickets.asp?p=9449\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "In light of last month’s far-right rally in Charlottesville and subsequent protests, the chorus has decided to double the security budget for its upcoming 'Lavender Pen Tour.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever since the \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Gay Men’s Chorus\u003c/a> decided to cancel its planned international tour following the results of last November’s presidential elections and travel to Alabama, Mississippi and other southern states instead, security has been top of mind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our concern ranges from personal safety to, you know, a bomb threat,” says the ensemble’s executive director, Chris Verdugo.\u003c/p>\n\u003cp>But in light of last month’s far-right rally in Charlottesville and subsequent protests, the chorus has decided to double the security budget for its upcoming “Lavender Pen Tour.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are looking to \u003ca href=\"https://tickets.vendini.com/donation-software.html?d=2bf42d51da7ac0227ffb2b2cba15bff3&t=donation&vqitq=e5a61820-e3db-409f-8a28-35e1b70da7e9&vqitp=34d9e8f9-949d-41a3-b9a6-51936e9435de&vqitts=1505339521&vqitc=vendini&vqite=itl&vqitrt=Safetynet&vqith=5801acd9b828164a1288cc5fe666da50\" target=\"_blank\" rel=\"noopener noreferrer\">raise $30,000 in 30 days\u003c/a> for our enhanced security measures,” says chorus board chair Steve Huffines. “Based on our conversations with local law enforcement officials, we believe that the odds of us encountering a hostile event are actually quite low. But the board is committed to erring on the side of caution to insure that everyone on the Lavender Pen Tour is kept safe throughout our journey.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lavender Pen Tour (Promo Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/Ph7K483BKWI?start=2&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Tour security director and retired police sergeant Karen Alberts is keeping the the details of the security plan under wraps. Her team of four — three of them women with anti-terrorism backgrounds — have been coordinating plans with state and federal agencies in the places the singers will be visiting, like Birmingham, AL and Knoxville, TN.\u003c/p>\n\u003cp>“Things have changed a bit since Charlottesville,” Alberts says. “All the local law enforcement agencies in the areas we’re going to be traveling to are aware of our presence.”\u003c/p>\n\u003cp>Alberts and her team are also working with the members of both the San Francisco Gay Men’s Chorus and the \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Interfaith Gospel Choir\u003c/a> (the two ensembles will be touring together) on personal safety. “We’re teaching them the basics: don’t go out alone, don’t engage, safety in numbers, that type of thing.”\u003c/p>\n\u003cp>Meanwhile, the choir’s callout for funds to pay for the extra security has caused a backlash on Twitter, particularly from people in the south.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003cem>The Lavender Pen Tour happens Sunday, Oct. 8 though Saturday, Oct. 14 in cities across Alabama, Mississippi, North Carolina, Florida and Tennessee. \u003c/em>\u003c/p>\n\u003cp>\u003cem>There will be a send-off concert on Saturday, Sept. 30 at Grace Cathedral in San Francisco. Tickets and information \u003ca href=\"https://www.cityboxoffice.com/ordertickets.asp?p=9449\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "photographic-portraits-bring-you-face-to-face-with-the-vietnam-war",
"title": "Photographic Portraits Bring You Face to Face With the Vietnam War",
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"content": "\u003cp>They’re older and grayer now, the men and women who stare unsmiling into the camera. Their figures, shot against a black background, are superimposed on jungle foliage. It looks as if they’ve been surprised, at night, in a private moment: remembering the Vietnam War.\u003c/p>\n\u003cp>That’s the feeling San Francisco Bay Area photographer \u003ca href=\"http://tomsandersphoto.com\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Sanders\u003c/a> is aiming for. As an undergraduate at Cal Poly San Luis Obispo, he started a series of portraits of World War II veterans that would eventually lead to a book called \u003ca href=\"http://tomsandersphoto.com/portfolio/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Last Good War\u003c/em>\u003c/a>. As a graduate student at San Jose State, Sanders launched \u003ca href=\"http://tomsandersphoto.com/vietnam-war/\" target=\"_blank\" rel=\"noopener noreferrer\">something similar\u003c/a> with U.S. veterans of the Vietnam War, as well as South Vietnamese veterans, and other Vietnamese refugees who came to California.\u003c/p>\n\u003cp>“The idea is that the viewer becomes emotionally enthralled by the portrait,” Sanders says. “Then, right next to the photo, is a brief history on that veteran or immigrant, and they get to learn an individual story about them.”\u003c/p>\n\u003cfigure id=\"attachment_13815358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Thuy-B-800x450.jpg\" alt='Thuy B. says she will always miss her home country. During the Vietnam War, her family was forced to flee south to escape the advancing Viet Cong. \"People got panic-stricken. More and more people evacuated every day. My mother also made decision to leave for Saigon. It was a long, exhausting journey full of pain, stress, and fear.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thuy B. says she will always miss her home country. During the Vietnam War, her family was forced to flee south to escape the advancing Viet Cong. “People got panic-stricken. More and more people evacuated every day. My mother also made decision to leave for Saigon. It was a long, exhausting journey full of pain, stress, and fear.” \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sanders has been working with veterans groups and the \u003ca href=\"http://www.sjelks.com/home/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Elks Club\u003c/a> to identify people like 69 year-old Dave Sanders — no relation to Thomas — who brought a piece of shrapnel with him to the photo shoot. “From a 122 millimeter rocket that almost got me. Almost!”\u003c/p>\n\u003cp>Dave Sanders doesn’t have any illusions about the war, but he’s proud that he enlisted. He volunteered for military service right out of high school. “All of our friends were being drafted. So the inevitable was coming,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13815359\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815359\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Rob-Petty-800x1200.jpg\" alt=\"Ron Petty was a helicopter pilot. The necklace he's holding is the bullet that hit him while he was flying in Vietnam. After medics pulled that bullet out of him, he put it on a chain. Photographer Thomas Sanders says he’s been taken by the fact many of his subjects carry grim mementos. "I think, the Vietnam veterans - some of them carry their war relics with them as a reminder that they’re living," he says.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Petty was a helicopter pilot. The necklace he’s holding is the bullet that hit him while he was flying in Vietnam. After medics pulled that bullet out of him, he put it on a chain. Photographer Thomas Sanders says he’s been taken by the fact many of his subjects carry grim mementos. “I think, the Vietnam veterans – some of them carry their war relics with them as a reminder that they’re living,” he says. \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sanders made it back in one piece from Vietnam after a one -year tour of duty from May of 1967 to May of 1968. He returned home 50 pounds lighter, but carrying the weight of post traumatic stress disorder.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We did what our country wanted – the military portion of our country and the politicians – but, you know, the more I know, the sadder I get,” Sanders reflects. “I really have a lot of hate and discontent in my mind for people like McNamara, Westmoreland: those that sent other people to die.”\u003c/p>\n\u003cp>Army General William Westmoreland commanded U.S. forces from 1964 to 1968. Defense Secretary Robert McNamara was in charge in the administration in Washington , D.C.\u003c/p>\n\u003cp>I ask Dave Sanders, “If you had Robert McNamara sitting in front of you right now, what would you say to him?” He thinks for a moment, gathering himself. Then he says emphatically, “I’d kill the son-of-a-bitch, for the 58,000 guys that we have on a wall.\u003c/p>\n\u003cp>He’s talking about the American service members who died or went missing. Their names are etched on the polished black rock of the \u003ca href=\"https://www.nps.gov/vive/index.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnam Veterans Memorial\u003c/a> in Washington, D.C.\u003c/p>\n\u003cp>Thomas Sanders has photographed about 200 people for the Vietnam project so far, mostly in and around San Jose. The region is home to one of the largest populations of expatriate Vietnamese in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13815357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-800x450.jpg\" alt='Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, holds a bust of a South Vietnamese soldier at the Viet Museum in San Jose. \"This is a beautiful work from the museum,\" he says. \"It reminds me of the unknown soldier.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, holds a bust of a South Vietnamese soldier at the Viet Museum in San Jose. “This is a beautiful work from the museum,” he says. “It reminds me of the unknown soldier.” \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People like Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, are eager to participate in the project.\u003c/p>\n\u003cp>Vu has a history of taking leadership roles. Not long after he arrived in San Jose in the mid-1970s, Vu took the helm of the \u003ca href=\"https://www.facebook.com/irccsanjose/\" target=\"_blank\" rel=\"noopener noreferrer\">Immigrant Resettlement and Cultural Center\u003c/a>. Now he runs the \u003ca href=\"http://www.mercurynews.com/2007/08/25/san-joses-new-vietnamese-museum-elicits-deep-emotions/\" target=\"_blank\" rel=\"noopener noreferrer\">Viet Museum\u003c/a> in San Jose’s History Park, a modest, re-purposed Victorian house stuffed to the gills with framed photos, maps, artwork, and other mementos from the Vietnam War.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcrmag/2017/09/TCRPM20170915seg2VietnamPortraits.mp3\" title=\"Vietnam Portraits\" program=\"The California Report\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26520_DAVE_SANDERS-2-1920x1080.jpg\"]\u003c/p>\n\u003cp>Every item, Vu says, tells a story. Four machine guns mounted on the wall, for instance, serve as pointed reminders of multi-national meddling in Vietnam. “One make by France. One make by Russia. One make by [the] Americans. One make by Chinese Communists. Given to the young Vietnamese, North and South, to die in the Vietnam War,” he says.\u003c/p>\n\u003cp>He adds that the concepts of “winning” or “losing” a war mean nothing to those who fight and die in them. “That is the lesson I want to bring to our children,” he says.\u003c/p>\n\u003cp>Vu has been a helpful community liaison for photographer Thomas Sanders, who is too young to have experienced the war, even as a news story.\u003c/p>\n\u003cfigure id=\"attachment_13815361\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Meal-LEtter-800x1200.jpg\" alt=\"Humidity disintegrated paper in the jungles of Vietnam. Resourceful American soldiers used alternatives like the sturdy cardboard wrappers their food rations came in to write letters home to loved ones.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Humidity disintegrated paper in the jungles of Vietnam. Resourceful American soldiers used alternatives like the sturdy cardboard wrappers their food rations came in to write letters home to loved ones. \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This project has taught Sanders some of that history.\u003c/p>\n\u003cp>Vu counts that as a personal win. He wants that kind of history lesson for second generation Vietnamese-Americans as well.\u003c/p>\n\u003cp>“I’m very worried our next generation in the United States do not remember why the Vietnamese are here: where they came from, when, and the reasons why,” he says.\u003c/p>\n\u003cp>As for Thomas Sanders, he hopes to publish some of the portraits in a book. He wants them to serve as a document for those too young to remember the war, and a memento for those too old to forget.\u003c/p>\n\u003cp>“It’s important that these Vietnam veterans and the immigrants get the opportunity to tell their story,” he says. “It’s therapeutic. It gives them the opportunity to be honored.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They’re older and grayer now, the men and women who stare unsmiling into the camera. Their figures, shot against a black background, are superimposed on jungle foliage. It looks as if they’ve been surprised, at night, in a private moment: remembering the Vietnam War.\u003c/p>\n\u003cp>That’s the feeling San Francisco Bay Area photographer \u003ca href=\"http://tomsandersphoto.com\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Sanders\u003c/a> is aiming for. As an undergraduate at Cal Poly San Luis Obispo, he started a series of portraits of World War II veterans that would eventually lead to a book called \u003ca href=\"http://tomsandersphoto.com/portfolio/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Last Good War\u003c/em>\u003c/a>. As a graduate student at San Jose State, Sanders launched \u003ca href=\"http://tomsandersphoto.com/vietnam-war/\" target=\"_blank\" rel=\"noopener noreferrer\">something similar\u003c/a> with U.S. veterans of the Vietnam War, as well as South Vietnamese veterans, and other Vietnamese refugees who came to California.\u003c/p>\n\u003cp>“The idea is that the viewer becomes emotionally enthralled by the portrait,” Sanders says. “Then, right next to the photo, is a brief history on that veteran or immigrant, and they get to learn an individual story about them.”\u003c/p>\n\u003cfigure id=\"attachment_13815358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Thuy-B-800x450.jpg\" alt='Thuy B. says she will always miss her home country. During the Vietnam War, her family was forced to flee south to escape the advancing Viet Cong. \"People got panic-stricken. More and more people evacuated every day. My mother also made decision to leave for Saigon. It was a long, exhausting journey full of pain, stress, and fear.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Thuy-B-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thuy B. says she will always miss her home country. During the Vietnam War, her family was forced to flee south to escape the advancing Viet Cong. “People got panic-stricken. More and more people evacuated every day. My mother also made decision to leave for Saigon. It was a long, exhausting journey full of pain, stress, and fear.” \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sanders has been working with veterans groups and the \u003ca href=\"http://www.sjelks.com/home/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Elks Club\u003c/a> to identify people like 69 year-old Dave Sanders — no relation to Thomas — who brought a piece of shrapnel with him to the photo shoot. “From a 122 millimeter rocket that almost got me. Almost!”\u003c/p>\n\u003cp>Dave Sanders doesn’t have any illusions about the war, but he’s proud that he enlisted. He volunteered for military service right out of high school. “All of our friends were being drafted. So the inevitable was coming,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13815359\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815359\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Rob-Petty-800x1200.jpg\" alt=\"Ron Petty was a helicopter pilot. The necklace he's holding is the bullet that hit him while he was flying in Vietnam. After medics pulled that bullet out of him, he put it on a chain. Photographer Thomas Sanders says he’s been taken by the fact many of his subjects carry grim mementos. "I think, the Vietnam veterans - some of them carry their war relics with them as a reminder that they’re living," he says.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rob-Petty-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Petty was a helicopter pilot. The necklace he’s holding is the bullet that hit him while he was flying in Vietnam. After medics pulled that bullet out of him, he put it on a chain. Photographer Thomas Sanders says he’s been taken by the fact many of his subjects carry grim mementos. “I think, the Vietnam veterans – some of them carry their war relics with them as a reminder that they’re living,” he says. \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sanders made it back in one piece from Vietnam after a one -year tour of duty from May of 1967 to May of 1968. He returned home 50 pounds lighter, but carrying the weight of post traumatic stress disorder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We did what our country wanted – the military portion of our country and the politicians – but, you know, the more I know, the sadder I get,” Sanders reflects. “I really have a lot of hate and discontent in my mind for people like McNamara, Westmoreland: those that sent other people to die.”\u003c/p>\n\u003cp>Army General William Westmoreland commanded U.S. forces from 1964 to 1968. Defense Secretary Robert McNamara was in charge in the administration in Washington , D.C.\u003c/p>\n\u003cp>I ask Dave Sanders, “If you had Robert McNamara sitting in front of you right now, what would you say to him?” He thinks for a moment, gathering himself. Then he says emphatically, “I’d kill the son-of-a-bitch, for the 58,000 guys that we have on a wall.\u003c/p>\n\u003cp>He’s talking about the American service members who died or went missing. Their names are etched on the polished black rock of the \u003ca href=\"https://www.nps.gov/vive/index.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnam Veterans Memorial\u003c/a> in Washington, D.C.\u003c/p>\n\u003cp>Thomas Sanders has photographed about 200 people for the Vietnam project so far, mostly in and around San Jose. The region is home to one of the largest populations of expatriate Vietnamese in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13815357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-800x450.jpg\" alt='Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, holds a bust of a South Vietnamese soldier at the Viet Museum in San Jose. \"This is a beautiful work from the museum,\" he says. \"It reminds me of the unknown soldier.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Vet-photos-Loc-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, holds a bust of a South Vietnamese soldier at the Viet Museum in San Jose. “This is a beautiful work from the museum,” he says. “It reminds me of the unknown soldier.” \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People like Loc Vu, an 85-year-old retired colonel who served in the Army of the Republic of Vietnam, are eager to participate in the project.\u003c/p>\n\u003cp>Vu has a history of taking leadership roles. Not long after he arrived in San Jose in the mid-1970s, Vu took the helm of the \u003ca href=\"https://www.facebook.com/irccsanjose/\" target=\"_blank\" rel=\"noopener noreferrer\">Immigrant Resettlement and Cultural Center\u003c/a>. Now he runs the \u003ca href=\"http://www.mercurynews.com/2007/08/25/san-joses-new-vietnamese-museum-elicits-deep-emotions/\" target=\"_blank\" rel=\"noopener noreferrer\">Viet Museum\u003c/a> in San Jose’s History Park, a modest, re-purposed Victorian house stuffed to the gills with framed photos, maps, artwork, and other mementos from the Vietnam War.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Every item, Vu says, tells a story. Four machine guns mounted on the wall, for instance, serve as pointed reminders of multi-national meddling in Vietnam. “One make by France. One make by Russia. One make by [the] Americans. One make by Chinese Communists. Given to the young Vietnamese, North and South, to die in the Vietnam War,” he says.\u003c/p>\n\u003cp>He adds that the concepts of “winning” or “losing” a war mean nothing to those who fight and die in them. “That is the lesson I want to bring to our children,” he says.\u003c/p>\n\u003cp>Vu has been a helpful community liaison for photographer Thomas Sanders, who is too young to have experienced the war, even as a news story.\u003c/p>\n\u003cfigure id=\"attachment_13815361\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Meal-LEtter-800x1200.jpg\" alt=\"Humidity disintegrated paper in the jungles of Vietnam. Resourceful American soldiers used alternatives like the sturdy cardboard wrappers their food rations came in to write letters home to loved ones.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Meal-LEtter-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Humidity disintegrated paper in the jungles of Vietnam. Resourceful American soldiers used alternatives like the sturdy cardboard wrappers their food rations came in to write letters home to loved ones. \u003ccite>(Thomas Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This project has taught Sanders some of that history.\u003c/p>\n\u003cp>Vu counts that as a personal win. He wants that kind of history lesson for second generation Vietnamese-Americans as well.\u003c/p>\n\u003cp>“I’m very worried our next generation in the United States do not remember why the Vietnamese are here: where they came from, when, and the reasons why,” he says.\u003c/p>\n\u003cp>As for Thomas Sanders, he hopes to publish some of the portraits in a book. He wants them to serve as a document for those too young to remember the war, and a memento for those too old to forget.\u003c/p>\n\u003cp>“It’s important that these Vietnam veterans and the immigrants get the opportunity to tell their story,” he says. “It’s therapeutic. It gives them the opportunity to be honored.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "daveed-diggs-is-working-on-a-buddy-comedy-about-oakland-gentrification",
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"content": "\u003cp>Daveed Diggs is returning to his hometown for a buddy film that puts Oakland’s rapid gentrification front-and-center.\u003c/p>\n\u003cp>The film, titled \u003cem>Blindspotting\u003c/em>, features top billing from the \u003cem>Hamilton\u003c/em> star, and poet and rapper Rafael Casal. The duo will play two movers bearing witness to the rise of gentrification in “The Town.” Casal and Diggs not only star in the film — their first lead roles in feature-length film — but they also share writing credits for the movie.\u003c/p>\n\u003cp>\u003cem>Blindspotting\u003c/em> draws loosely upon Diggs’ and Casal’s experiences as Bay Area residents, both having grown up in Oakland and attended Berkeley High School. Casal and Diggs are longtime creative collaborators, working on everything from \u003ca href=\"https://rafaelcasal.bandcamp.com/album/the-bay-boy-mixtape-2010\">a mixtape appropriately titled \u003cem>The Bay Boy\u003c/em>\u003c/a> to a \u003ca href=\"http://www.npr.org/2016/12/17/505848034/bars-medley-classic-literature-remixed-into-hip-hop-and-verse\">literature and rap-influenced musical theater workshop\u003c/a> together.\u003c/p>\n\u003cp>It will remain a Bay Area affair: The \u003cem>Blindspotting\u003c/em> cast and crew have been spotted filming in Oakland and Richmond. (This writer plays an extra in the film.)\u003c/p>\n\u003cp>\u003cem>Blindspotting\u003c/em> will be directed by Carlos Lopez Estrada, a short-form filmmaker who has previously directed music videos for Diggs’ rap group clipping. Also starring in the film are the likes of Utkarsh Ambudkar (\u003cem>Pitch Perfect\u003c/em>), Wayne Knight (\u003cem>Jurassic Park\u003c/em>) and Tisha Campbell-Martin (\u003cem>Dr. Ken\u003c/em>).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film is slated for release sometime in 2018.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Daveed Diggs is returning to his hometown for a buddy film that puts Oakland’s rapid gentrification front-and-center.\u003c/p>\n\u003cp>The film, titled \u003cem>Blindspotting\u003c/em>, features top billing from the \u003cem>Hamilton\u003c/em> star, and poet and rapper Rafael Casal. The duo will play two movers bearing witness to the rise of gentrification in “The Town.” Casal and Diggs not only star in the film — their first lead roles in feature-length film — but they also share writing credits for the movie.\u003c/p>\n\u003cp>\u003cem>Blindspotting\u003c/em> draws loosely upon Diggs’ and Casal’s experiences as Bay Area residents, both having grown up in Oakland and attended Berkeley High School. Casal and Diggs are longtime creative collaborators, working on everything from \u003ca href=\"https://rafaelcasal.bandcamp.com/album/the-bay-boy-mixtape-2010\">a mixtape appropriately titled \u003cem>The Bay Boy\u003c/em>\u003c/a> to a \u003ca href=\"http://www.npr.org/2016/12/17/505848034/bars-medley-classic-literature-remixed-into-hip-hop-and-verse\">literature and rap-influenced musical theater workshop\u003c/a> together.\u003c/p>\n\u003cp>It will remain a Bay Area affair: The \u003cem>Blindspotting\u003c/em> cast and crew have been spotted filming in Oakland and Richmond. (This writer plays an extra in the film.)\u003c/p>\n\u003cp>\u003cem>Blindspotting\u003c/em> will be directed by Carlos Lopez Estrada, a short-form filmmaker who has previously directed music videos for Diggs’ rap group clipping. Also starring in the film are the likes of Utkarsh Ambudkar (\u003cem>Pitch Perfect\u003c/em>), Wayne Knight (\u003cem>Jurassic Park\u003c/em>) and Tisha Campbell-Martin (\u003cem>Dr. Ken\u003c/em>).\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 film is slated for release sometime in 2018.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Grant Hart, Hüsker Dü Drummer and Songwriter, is Dead at 56",
"headTitle": "Grant Hart, Hüsker Dü Drummer and Songwriter, is Dead at 56 | KQED",
"content": "\u003cp>Grant Hart, a drummer and songwriter best-known as a member of Minneapolis’ widely influential punk trio, Hüsker Dü, died Wednesday night at the University of Minnesota Medical Center of complications from liver cancer and hepatitis, his wife, Brigid McGough, confirmed to NPR. He was 56 years old.\u003c/p>\n\u003cp>The seed of Hüsker Dü — named after a phonetic game its members played with the Talking Heads song “Psycho Killer” — germinated in 1978, when the band’s eventual guitarist and singer Bob Mould met Hart while the latter was working at a record store called Cheapo near Macalester College in St. Paul, Minn., where Mould was in school. As Mould described in his memoir, \u003cem>See A Little Light,\u003c/em> Hart closed the store after Mould mentioned he played guitar: “I’m gonna close the store and I wanna go see you play right now.”\u003c/p>\n\u003cp>That pairing, with the addition of bassist Greg Norton, began 10 years of collaboration that saw Hüsker Dü transition from speed-obsessed hardcore punks to the architects of the melodic, high-concept double album \u003cem>Zen Arcade\u003c/em>. The trio’s final album, \u003cem>Warehouse: Songs & Stories, \u003c/em>was a relatively bright and melodic piece that would help define the sound of alternative and college rock for nearly a decade after.\u003c/p>\n\u003cp>The health of Hart and Mould’s relationship as co-songwriters was inversely proportional to Hüsker Dü’s success. Healthy competition was a principal driving force of the band, but as Mould became the group’s manager following the suicide of David Savoy, the acrimony between them increased. Hart slipped into heavier drug use around 1986, particularly heroin (amphetamines were openly shared among the group’s members, according to Mould in his book). In 1988, the group split following an attempted intervention at the house of Hart’s parents. “We’re lucky we got out of it with our lives,” Hart told the filmmaker Gorman Bechard for \u003ca href=\"https://vimeo.com/ondemand/51351\">Every Everything\u003c/a>, a documentary on Hart’s life.\u003c/p>\n\u003cp>In contrast to the fierce salt of Mould, Hart’s songwriting often looked skyward, melodic and heady, typified in “Turn on the News.” His solo work would showcase the same reflective, tender sensibilities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We stayed in contact over the next 29 years — sometimes peaceful, sometimes difficult, sometimes through go-betweens,” \u003ca href=\"https://www.facebook.com/bobmouldmusic/photos/a.440776305698.243232.45470330698/10155650510815699/?type=3&theater\" target=\"_blank\" rel=\"noopener\">wrote Mould\u003c/a> in a remembrance posted on Facebook Thursday morning. “For better or worse, that’s how it was, and occasionally that’s what it is when two people care deeply about everything they built together.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eoKeH7JYE48\u003c/p>\n\u003cp>Hart’s final show, held this past July 1 at the Hook and Ladder Theater in Minneapolis, was actually a surprise tribute to him that featured Soul Asylum’s Dave Pirner, Babes In Toyland’s Lori Barbero and others.\u003c/p>\n\u003cp>“I carried my guitar in, and it was like this sea of faces turning to me with great affection. There’s not too many big surprises that have been successfully thrown at me, but that was definitely one,” he \u003ca href=\"https://blog.thecurrent.org/2017/09/songwriter-and-husker-du-founder-grant-hart-passes-away-at-56/\" target=\"_blank\" rel=\"noopener\">told Andrea Swensson\u003c/a> of member station The Current in what would be his final interview.\u003c/p>\n\u003cp>Hart was born in St. Paul in 1961, the youngest of three children. After his elder brother was killed by a drunken driver, Hart began playing his drum set, going on to play in various bands before founding Hüsker Dü with Mould and Norton.\u003c/p>\n\u003cp>Following the world tours and the frenetic Hüsker years, Hart continued to release music under his given name and with Nova Mob, which shared a chuggy, pristine, punk-rooted sensibility with contemporaries like Lungfish. He was a constant presence in the clubs and stage-equipped bars of Minneapolis and St. Paul, floating through crowds whether he was performing, often solo with a guitar, or not. Possessing a silver tongue with a flair for self-aggrandizement, Hart was always happy to hold forth with interlocutors, regardless of their source.\u003c/p>\n\u003cp>Ken Shipley, head of the Numero Group reissue label, which recently announced a years-in-the-making box set of remastered material from Hüsker’s aggressive early years, describes Hart as loving “to stir the peanut butter” and “disarming and masterminding all at once.”\u003c/p>\n\u003cp>As Hart told \u003ca href=\"https://thumped.com/features/interviews/grant-hart-all-of-my-old-friends-are-assholes/\">Thumped\u003c/a>\u003cem> \u003c/em>in 2012: “Any music that was ever broadcast is right now heading further into space at light speed.” His and Hüsker’s work might get there before everyone else. \u003c/p>\n\u003cp>\u003ci>Watch Grant Hart play live on KEXP in 2011:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rl7mtCQbVf4\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Grant+Hart%2C+H%C3%BCsker+D%C3%BC+Drummer+And+Songwriter%2C+Is+Dead+At+56&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Hart, who wrote songs like \"Turn on the News\" for the influential Minneapolis band and went on to become a fixture of the city after the band's dissolution, battled cancer publicly for many years.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grant Hart, a drummer and songwriter best-known as a member of Minneapolis’ widely influential punk trio, Hüsker Dü, died Wednesday night at the University of Minnesota Medical Center of complications from liver cancer and hepatitis, his wife, Brigid McGough, confirmed to NPR. He was 56 years old.\u003c/p>\n\u003cp>The seed of Hüsker Dü — named after a phonetic game its members played with the Talking Heads song “Psycho Killer” — germinated in 1978, when the band’s eventual guitarist and singer Bob Mould met Hart while the latter was working at a record store called Cheapo near Macalester College in St. Paul, Minn., where Mould was in school. As Mould described in his memoir, \u003cem>See A Little Light,\u003c/em> Hart closed the store after Mould mentioned he played guitar: “I’m gonna close the store and I wanna go see you play right now.”\u003c/p>\n\u003cp>That pairing, with the addition of bassist Greg Norton, began 10 years of collaboration that saw Hüsker Dü transition from speed-obsessed hardcore punks to the architects of the melodic, high-concept double album \u003cem>Zen Arcade\u003c/em>. The trio’s final album, \u003cem>Warehouse: Songs & Stories, \u003c/em>was a relatively bright and melodic piece that would help define the sound of alternative and college rock for nearly a decade after.\u003c/p>\n\u003cp>The health of Hart and Mould’s relationship as co-songwriters was inversely proportional to Hüsker Dü’s success. Healthy competition was a principal driving force of the band, but as Mould became the group’s manager following the suicide of David Savoy, the acrimony between them increased. Hart slipped into heavier drug use around 1986, particularly heroin (amphetamines were openly shared among the group’s members, according to Mould in his book). In 1988, the group split following an attempted intervention at the house of Hart’s parents. “We’re lucky we got out of it with our lives,” Hart told the filmmaker Gorman Bechard for \u003ca href=\"https://vimeo.com/ondemand/51351\">Every Everything\u003c/a>, a documentary on Hart’s life.\u003c/p>\n\u003cp>In contrast to the fierce salt of Mould, Hart’s songwriting often looked skyward, melodic and heady, typified in “Turn on the News.” His solo work would showcase the same reflective, tender sensibilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We stayed in contact over the next 29 years — sometimes peaceful, sometimes difficult, sometimes through go-betweens,” \u003ca href=\"https://www.facebook.com/bobmouldmusic/photos/a.440776305698.243232.45470330698/10155650510815699/?type=3&theater\" target=\"_blank\" rel=\"noopener\">wrote Mould\u003c/a> in a remembrance posted on Facebook Thursday morning. “For better or worse, that’s how it was, and occasionally that’s what it is when two people care deeply about everything they built together.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eoKeH7JYE48'\n title='//www.youtube.com/embed/eoKeH7JYE48'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hart’s final show, held this past July 1 at the Hook and Ladder Theater in Minneapolis, was actually a surprise tribute to him that featured Soul Asylum’s Dave Pirner, Babes In Toyland’s Lori Barbero and others.\u003c/p>\n\u003cp>“I carried my guitar in, and it was like this sea of faces turning to me with great affection. There’s not too many big surprises that have been successfully thrown at me, but that was definitely one,” he \u003ca href=\"https://blog.thecurrent.org/2017/09/songwriter-and-husker-du-founder-grant-hart-passes-away-at-56/\" target=\"_blank\" rel=\"noopener\">told Andrea Swensson\u003c/a> of member station The Current in what would be his final interview.\u003c/p>\n\u003cp>Hart was born in St. Paul in 1961, the youngest of three children. After his elder brother was killed by a drunken driver, Hart began playing his drum set, going on to play in various bands before founding Hüsker Dü with Mould and Norton.\u003c/p>\n\u003cp>Following the world tours and the frenetic Hüsker years, Hart continued to release music under his given name and with Nova Mob, which shared a chuggy, pristine, punk-rooted sensibility with contemporaries like Lungfish. He was a constant presence in the clubs and stage-equipped bars of Minneapolis and St. Paul, floating through crowds whether he was performing, often solo with a guitar, or not. Possessing a silver tongue with a flair for self-aggrandizement, Hart was always happy to hold forth with interlocutors, regardless of their source.\u003c/p>\n\u003cp>Ken Shipley, head of the Numero Group reissue label, which recently announced a years-in-the-making box set of remastered material from Hüsker’s aggressive early years, describes Hart as loving “to stir the peanut butter” and “disarming and masterminding all at once.”\u003c/p>\n\u003cp>As Hart told \u003ca href=\"https://thumped.com/features/interviews/grant-hart-all-of-my-old-friends-are-assholes/\">Thumped\u003c/a>\u003cem> \u003c/em>in 2012: “Any music that was ever broadcast is right now heading further into space at light speed.” His and Hüsker’s work might get there before everyone else. \u003c/p>\n\u003cp>\u003ci>Watch Grant Hart play live on KEXP in 2011:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Rl7mtCQbVf4'\n title='//www.youtube.com/embed/Rl7mtCQbVf4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Grant+Hart%2C+H%C3%BCsker+D%C3%BC+Drummer+And+Songwriter%2C+Is+Dead+At+56&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "headlands-balances-preservation-and-intervention-with-new-artist-commissions",
"title": "Headlands Balances Preservation and Intervention with New Artist Commissions",
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"content": "\u003cp>\u003ca href=\"http://www.headlands.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Headlands Center for the Arts\u003c/a> has a new drinking fountain. This is a big deal.\u003c/p>\n\u003cp>Anyone who’s spent time rambling through the Marin Headlands knows sweeping vistas are legion, but drinking fountains are \u003ca href=\"https://ww2.kqed.org/arts/2017/06/15/lets-drink-scenic-water-fountains-and-why-its-radical-to-use-them/\" target=\"_blank\" rel=\"noopener\">few and far between\u003c/a>. Also: this is no ordinary double-spouted bubbler.\u003c/p>\n\u003cp>Made by Bay Area artist \u003ca href=\"http://www.nathanlynch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nathan Lynch\u003c/a>, \u003ci>Doubledrink\u003c/i> is a functional sculpture covered in white industrial glaze — as if a Kohler fixture turned oozy and bulbous. \u003ci>Doubledrink\u003c/i> also makes the act of slurping water more awkward than it has ever possibly been.\u003c/p>\n\u003cp>Lynch positioned the spouts in such a way that simultaneous drinking means staring someone straight in the eyes while you make whatever strange expression you make at the drinking fountain. “It’s like a toast,” he says. An intimate, uncomfortable toast that puts you face-to-face with someone in their most vulnerable state.\u003c/p>\n\u003cfigure id=\"attachment_13808506\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200.jpg\" alt=\"View of The Commons, main plaza at Headlands Center for the Arts.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">View of The Commons, main plaza at Headlands Center for the Arts. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Doubledrink\u003c/i>, along with Dutch artist and designer \u003ca href=\"http://www.chriskabel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Kabel\u003c/a>’s \u003ci>Wall Space\u003c/i> and Los Angeles-based \u003ca href=\"http://www.ball-nogues.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ball-Nogues Studio\u003c/a>’s \u003ci>Welcome Terrace East & West\u003c/i>, is a brand new commission created specially for Headlands’ brand new outdoor gathering space, called \u003ca href=\"http://www.headlands.org/the-commons/\" target=\"_blank\" rel=\"noopener noreferrer\">The Commons\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once a gravelly parking area between Buildings 944 and 945 (home to administrative offices, a project space, the mess hall and artist studios), the Commons is now gracefully landscaped into stairs, seating and jutting concrete vantage points, courtesy of local firm \u003ca href=\"http://www.cmgsite.com\" target=\"_blank\" rel=\"noopener noreferrer\">CMG Landscape Architecture\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13808507\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808507\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200.jpg\" alt=\"Aerial view of The Commons, main plaza.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Aerial view of The Commons, main plaza. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Headlands celebrates the opening of The Commons on Sunday, Sept. 17, 12-5pm with a day of performances, installations, food trucks, family-friendly activities and even a pedal-in (a group bike ride from San Francisco, led by the \u003ca href=\"http://www.studioforurbanprojects.org/projects/pedal-in/\" target=\"_blank\" rel=\"noopener noreferrer\">Studio for Urban Projects\u003c/a>).\u003c/p>\n\u003cp>The $1.8 million project was born out of both practical and artistic desires. “Given our home here in the national park, a big part of our commitment to the park is to take care of the campus,” says Headlands’ executive director, sharon maidenberg. “We felt strongly that we should focus on a project that enhances the space for visitors and makes it more accessible.”\u003c/p>\n\u003cfigure id=\"attachment_13808511\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808511\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200.jpg\" alt=\"'Welcome Terrace East & West,' a site-specific work by Ball-Nogues Studio.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Welcome Terrace East & West,’ a site-specific work by Ball-Nogues Studio. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nothing embodies this balance of preservation and creative improvement quite like the newly flush driveways in front of both main buildings. Inspired by the Japanese art of kintsugi, in which broken pottery is mended with lacquer mixed with powdered gold, silver or platinum, making the site of repair obvious, \u003ci>Welcome Terrace East & West\u003c/i> fills the areas between the old fragments of concrete with brilliant multicolored stripes of terrazzo. The result is archeological and puzzle-like, with islands of gray concrete showing just how much solid ground was missing before Ball-Nogues Studio intervened.\u003c/p>\n\u003cp>Kabel’s \u003ci>Wall Space\u003c/i> is similarly subtle: A system of slim rails on Building 945’s wooden siding supports metal mesh letters — painted the same color as the wall — that can be arranged, movie marquee-style, between the windows of the building’s three stories.\u003c/p>\n\u003cp>“It’s an empty slate that other people can use to express their thoughts,” Kabel says. “I was interested in being as minimal as possible.” Headlands invited San Francisco-based writer \u003ca href=\"https://openspace.sfmoma.org/author/claudialarocco/\" target=\"_blank\" rel=\"noopener noreferrer\">Claudia La Rocco\u003c/a> to curate the first round of texts, which begins with a new poem by \u003ca href=\"https://en.wikipedia.org/wiki/Wendy_Rose\" target=\"_blank\" rel=\"noopener noreferrer\">Wendy Rose\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13808508\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808508\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200.jpg\" alt=\"Detail of Chris Kabel's 'Wall Space,' showing a new commissioned poem by Wendy Rose.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Chris Kabel’s ‘Wall Space,’ showing a new commissioned poem by Wendy Rose. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Remember invasion / Remember smallpox / Remember captivity,” it reads in part, drawing from Rose’s Hopi and Miwok ancestry to reference a pre-Fort Barry history on a remnant of Fort Barry itself.\u003c/p>\n\u003cp>“I wanted language that would challenge, but also leave room for various interpretations, so that these texts might become site-specific collaborations between single authors and an ever-changing flow of readers,” La Rocco says in her curatorial statement.\u003c/p>\n\u003cp>Back at the drinking fountain, that flow of visitors is met with a welcoming flow of water — a contemporary interpretation of a timeless gathering site. Beyond the slapstick, semi-embarrassing quality of spilling water across one’s face, Lynch is earnest in his desire to foster connection through the act of sharing a water source. “My hope is that this gesture becomes a device for increasing our ability to see one another, whether we share a drink with new friends, lost loves or old enemies,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13808509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-800x450.jpg\" alt=\"Nathan Lynch's 'Doubledrink' at Headlands Center for the Arts.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13808509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Lynch’s ‘Doubledrink’ at Headlands Center for the Arts. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In all my discussions with the artists and administrators behind The Commons, conversation invariably turned to the here and now of 2017 in the United States of America. “This is a surreal year to be contemplating public space, particularly in this country,” La Rocco’s curatorial statement says.\u003c/p>\n\u003cp>The idea of “the commons” as a set of cultural and natural resources free and open to all members of society — or as a place where people meet face to face and exchange ideas — today seems distantly optimistic. And yet maidenberg says the project’s name came early and easily for the gathering space. Right now, maidenberg says, “It feels particularly meaningful to be able to demonstrate our values.”\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>\u003ci>The Commons opens at Headlands Center for the Arts in Marin on Saturday, Sept. 17, 12-5pm. For more information, click here.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.headlands.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Headlands Center for the Arts\u003c/a> has a new drinking fountain. This is a big deal.\u003c/p>\n\u003cp>Anyone who’s spent time rambling through the Marin Headlands knows sweeping vistas are legion, but drinking fountains are \u003ca href=\"https://ww2.kqed.org/arts/2017/06/15/lets-drink-scenic-water-fountains-and-why-its-radical-to-use-them/\" target=\"_blank\" rel=\"noopener\">few and far between\u003c/a>. Also: this is no ordinary double-spouted bubbler.\u003c/p>\n\u003cp>Made by Bay Area artist \u003ca href=\"http://www.nathanlynch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nathan Lynch\u003c/a>, \u003ci>Doubledrink\u003c/i> is a functional sculpture covered in white industrial glaze — as if a Kohler fixture turned oozy and bulbous. \u003ci>Doubledrink\u003c/i> also makes the act of slurping water more awkward than it has ever possibly been.\u003c/p>\n\u003cp>Lynch positioned the spouts in such a way that simultaneous drinking means staring someone straight in the eyes while you make whatever strange expression you make at the drinking fountain. “It’s like a toast,” he says. An intimate, uncomfortable toast that puts you face-to-face with someone in their most vulnerable state.\u003c/p>\n\u003cfigure id=\"attachment_13808506\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200.jpg\" alt=\"View of The Commons, main plaza at Headlands Center for the Arts.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/4_Commons_Plaza_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">View of The Commons, main plaza at Headlands Center for the Arts. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Doubledrink\u003c/i>, along with Dutch artist and designer \u003ca href=\"http://www.chriskabel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Kabel\u003c/a>’s \u003ci>Wall Space\u003c/i> and Los Angeles-based \u003ca href=\"http://www.ball-nogues.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ball-Nogues Studio\u003c/a>’s \u003ci>Welcome Terrace East & West\u003c/i>, is a brand new commission created specially for Headlands’ brand new outdoor gathering space, called \u003ca href=\"http://www.headlands.org/the-commons/\" target=\"_blank\" rel=\"noopener noreferrer\">The Commons\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once a gravelly parking area between Buildings 944 and 945 (home to administrative offices, a project space, the mess hall and artist studios), the Commons is now gracefully landscaped into stairs, seating and jutting concrete vantage points, courtesy of local firm \u003ca href=\"http://www.cmgsite.com\" target=\"_blank\" rel=\"noopener noreferrer\">CMG Landscape Architecture\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13808507\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808507\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200.jpg\" alt=\"Aerial view of The Commons, main plaza.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/5_Commons_Plaza_aerial_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Aerial view of The Commons, main plaza. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Headlands celebrates the opening of The Commons on Sunday, Sept. 17, 12-5pm with a day of performances, installations, food trucks, family-friendly activities and even a pedal-in (a group bike ride from San Francisco, led by the \u003ca href=\"http://www.studioforurbanprojects.org/projects/pedal-in/\" target=\"_blank\" rel=\"noopener noreferrer\">Studio for Urban Projects\u003c/a>).\u003c/p>\n\u003cp>The $1.8 million project was born out of both practical and artistic desires. “Given our home here in the national park, a big part of our commitment to the park is to take care of the campus,” says Headlands’ executive director, sharon maidenberg. “We felt strongly that we should focus on a project that enhances the space for visitors and makes it more accessible.”\u003c/p>\n\u003cfigure id=\"attachment_13808511\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808511\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200.jpg\" alt=\"'Welcome Terrace East & West,' a site-specific work by Ball-Nogues Studio.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/19_Commons_EastWestPromenade_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Welcome Terrace East & West,’ a site-specific work by Ball-Nogues Studio. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nothing embodies this balance of preservation and creative improvement quite like the newly flush driveways in front of both main buildings. Inspired by the Japanese art of kintsugi, in which broken pottery is mended with lacquer mixed with powdered gold, silver or platinum, making the site of repair obvious, \u003ci>Welcome Terrace East & West\u003c/i> fills the areas between the old fragments of concrete with brilliant multicolored stripes of terrazzo. The result is archeological and puzzle-like, with islands of gray concrete showing just how much solid ground was missing before Ball-Nogues Studio intervened.\u003c/p>\n\u003cp>Kabel’s \u003ci>Wall Space\u003c/i> is similarly subtle: A system of slim rails on Building 945’s wooden siding supports metal mesh letters — painted the same color as the wall — that can be arranged, movie marquee-style, between the windows of the building’s three stories.\u003c/p>\n\u003cp>“It’s an empty slate that other people can use to express their thoughts,” Kabel says. “I was interested in being as minimal as possible.” Headlands invited San Francisco-based writer \u003ca href=\"https://openspace.sfmoma.org/author/claudialarocco/\" target=\"_blank\" rel=\"noopener noreferrer\">Claudia La Rocco\u003c/a> to curate the first round of texts, which begins with a new poem by \u003ca href=\"https://en.wikipedia.org/wiki/Wendy_Rose\" target=\"_blank\" rel=\"noopener noreferrer\">Wendy Rose\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13808508\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808508\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200.jpg\" alt=\"Detail of Chris Kabel's 'Wall Space,' showing a new commissioned poem by Wendy Rose.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/9_Commons_Kabel_detail_2_RobertHerrick_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Chris Kabel’s ‘Wall Space,’ showing a new commissioned poem by Wendy Rose. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Remember invasion / Remember smallpox / Remember captivity,” it reads in part, drawing from Rose’s Hopi and Miwok ancestry to reference a pre-Fort Barry history on a remnant of Fort Barry itself.\u003c/p>\n\u003cp>“I wanted language that would challenge, but also leave room for various interpretations, so that these texts might become site-specific collaborations between single authors and an ever-changing flow of readers,” La Rocco says in her curatorial statement.\u003c/p>\n\u003cp>Back at the drinking fountain, that flow of visitors is met with a welcoming flow of water — a contemporary interpretation of a timeless gathering site. Beyond the slapstick, semi-embarrassing quality of spilling water across one’s face, Lynch is earnest in his desire to foster connection through the act of sharing a water source. “My hope is that this gesture becomes a device for increasing our ability to see one another, whether we share a drink with new friends, lost loves or old enemies,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13808509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-800x450.jpg\" alt=\"Nathan Lynch's 'Doubledrink' at Headlands Center for the Arts.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13808509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/14_Commons_DoubleDrink_RobertHerrick_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Lynch’s ‘Doubledrink’ at Headlands Center for the Arts. \u003ccite>(Photo by Robert Herrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In all my discussions with the artists and administrators behind The Commons, conversation invariably turned to the here and now of 2017 in the United States of America. “This is a surreal year to be contemplating public space, particularly in this country,” La Rocco’s curatorial statement says.\u003c/p>\n\u003cp>The idea of “the commons” as a set of cultural and natural resources free and open to all members of society — or as a place where people meet face to face and exchange ideas — today seems distantly optimistic. And yet maidenberg says the project’s name came early and easily for the gathering space. Right now, maidenberg says, “It feels particularly meaningful to be able to demonstrate our values.”\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>\u003ci>The Commons opens at Headlands Center for the Arts in Marin on Saturday, Sept. 17, 12-5pm. For more information, click here.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "w-kamau-bell-on-his-emmy-win-and-bouncing-back-from-cancellation",
"title": "W. Kamau Bell on His Emmy Win and Bouncing Back From Cancellation",
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"content": "\u003cp>When W. Kamau Bell and his show \u003ci>United Shades of America\u003c/i> won the Emmy Award for Outstanding Unstructured Reality Program last Saturday, many were surprised — but none more than Bell himself. \u003c/p>\n\u003cp>“I was waiting for the words \u003cem>Born This Way\u003c/em>,” Bell said \u003ca href=\"http://deadline.com/2017/09/united-shades-of-america-w-kamau-bell-creative-arts-emmys-1202165777/\" target=\"_blank\" rel=\"noopener\">after the ceremony\u003c/a>, referring to the show on A&E that won the year before.\u003c/p>\n\u003cp>But the Berkeley-based comedian happily accepted the award, a tangible symbol of how much he’s bounced back after his first TV show, the Chris Rock-produced \u003ci>Totally Biased with W. Kamau Bell,\u003c/i> was \u003ca href=\"http://www.salon.com/2013/11/15/w_kamau_bell_on_totally_biased_the_show_was_canceled_i%E2%80%99m_not_canceled/\" target=\"_blank\" rel=\"noopener\">canceled in 2013\u003c/a>. After the cancellation, Bell told KQED, he’d had the feeling his career was over.\u003c/p>\n\u003cp>“I wouldn’t be the first person to have a big opportunity, have that opportunity not work out and then disappear into the ether,” Bell said.\u003c/p>\n\u003cp>At the time, Bell had a daughter at home and another on the way, so he felt he couldn’t just give up on show business. He returned to stand-up comedy, but he also took a lot of meetings, mostly with news organizations who were looking to make their political coverage more entertaining. One of those meetings was at CNN.\u003c/p>\n\u003cfigure id=\"attachment_13808403\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-800x800.jpg\" alt=\"W. Kamau Bell with his Emmy\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13808403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell with his Emmy. \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CNN initially pitched a travel show in the same vein as Anthony Bourdain’s \u003ci>Parts Unknown\u003c/i> or \u003ci>This Is Life With Lisa Ling,\u003c/i> but its focus would be on sending a black comedian to largely white areas in America. Bell liked the idea of a travel show, but shot down the “white area” premise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It would’ve been, ‘Once again, Kamau goes to the country club! It just wouldn’t have had the same impact,” Bell said. \u003c/p>\n\u003cp>Kamau and the production company All3Media decided to use the show to explore \u003ca href=\"http://deadline.com/2015/03/kamau-bell-reza-aslan-cnn-kevin-spacey-1201389691/\" target=\"_blank\" rel=\"noopener\">the country’s subcultures\u003c/a>, and came up with the name \u003ci>United Shades of America.\u003c/i>\u003c/p>\n\u003cp>Yet the first place Bell and the team to decided to visit couldn’t have been more white: the home base of the Ku Klux Klan. The pilot episode, which seemed on its face to be a dangerous trip for its 6-foot-4-inch black host, was Bell’s idea.\u003c/p>\n\u003cp>“They couldn’t have talked me into it if it wasn’t my idea,” Bell said. \u003c/p>\n\u003cp>Bell said he’s always been interested in the KKK, and the episode shot for the show’s first season provided a revealing look at the current state of white supremacy almost a year before the riots in \u003ca href=\"http://www.aljazeera.com/news/2017/08/charlottesville-attack-170813081045115.html\" target=\"_blank\" rel=\"noopener\">Charlottesville\u003c/a>. Aired to great critical reception, it showed that white supremacists were quite organized in some areas of the south, and that cross-burnings were still a tradition in others.\u003c/p>\n\u003cp>“Since then, if I’m ever stopped in an airport, 80 percent of the time we’re talking about the KKK,” Bell said.\u003c/p>\n\u003cp>It became the show’s flagship episode, leading to the show’s first Emmy nomination, recognition which Bell cites as the reason for CNN’s decision to extend the show a second season. (\u003ci>United Shades\u003c/i> lost the Emmy to \u003ci>Born This Way\u003c/i> that year.)\u003c/p>\n\u003cp>Bell and his team kicked off the second season with a show that focused on immigration but also touched on white supremacy — it even featured an interview with \u003ca href=\"http://www.cnn.com/videos/tv/2017/04/19/united-shades-of-america-richard-spencer-ron-1.cnn/video/playlists/w-kamau-bell-united-shades/\" target=\"_blank\" rel=\"noopener\">white nationalist Richard Spencer\u003c/a>. But while that was the episode “everyone talked about,” according to Bell, this year CNN submitted an episode about Chicago’s persistent gang violence for Emmy consideration. For Bell, it was the highlight of \u003ci>United Shades’\u003c/i> second season because it not only portrayed the region’s problems but how hard the community was working to fix them. \u003c/p>\n\u003cp>“It showed a lot of men who are active members of gangs or had been in gangs, talking about why they knew that wasn’t the life they should be in, and they all had solutions to the problems,” Bell said. “If we solve Chicago’s problem, we solve the problems of all the urban environments in this country.” \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IlN6GRtcWMo\u003c/p>\n\u003cp>After the second season, the show was nominated for two Emmys — Outstanding Unstructured Reality Program and Outstanding Host for a Reality or Reality-Competition Program. The second nomination was a surprise for Bell. \u003c/p>\n\u003cp>“I was shocked by that, because I was up against Adam Baldwin, and RuPaul, and Heidi Klum and Tim Gunn, and Snoop Dogg and Martha Stewart. I can’t even get into that afterparty!” Bell said.\u003c/p>\n\u003cp>Bell lost the hosting Emmy to RuPaul (according to Bell, “RuPaul should win all the awards”) but the show itself won, which Bell said he appreciates for the honor it extends to the whole production team, some of whom have worked in TV for decades without Emmy recognition.\u003c/p>\n\u003cp>“If I had to choose between me winning my own award and the show winning, I’d chose the show every time,” Bell said. “It’s just more fun that way.”\u003c/p>\n\u003cp>Now back in Berkeley, Bell remains busy. Between hosting \u003ca href=\"http://www.wkamaubell.com/podcasts/\" target=\"_blank\" rel=\"noopener\">multiple podcasts\u003c/a> and performing standup \u003ca href=\"https://www.eventbrite.com/e/verdi-wild-things-are-standup-comedy-wfiorentini-muse-green-tickets-32992965849\" target=\"_blank\" rel=\"noopener\">Sept. 14 at the Verdi Club\u003c/a> in San Francisco, he’s currently working on a third season of \u003ci>United Shades of America\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When W. Kamau Bell and his show \u003ci>United Shades of America\u003c/i> won the Emmy Award for Outstanding Unstructured Reality Program last Saturday, many were surprised — but none more than Bell himself. \u003c/p>\n\u003cp>“I was waiting for the words \u003cem>Born This Way\u003c/em>,” Bell said \u003ca href=\"http://deadline.com/2017/09/united-shades-of-america-w-kamau-bell-creative-arts-emmys-1202165777/\" target=\"_blank\" rel=\"noopener\">after the ceremony\u003c/a>, referring to the show on A&E that won the year before.\u003c/p>\n\u003cp>But the Berkeley-based comedian happily accepted the award, a tangible symbol of how much he’s bounced back after his first TV show, the Chris Rock-produced \u003ci>Totally Biased with W. Kamau Bell,\u003c/i> was \u003ca href=\"http://www.salon.com/2013/11/15/w_kamau_bell_on_totally_biased_the_show_was_canceled_i%E2%80%99m_not_canceled/\" target=\"_blank\" rel=\"noopener\">canceled in 2013\u003c/a>. After the cancellation, Bell told KQED, he’d had the feeling his career was over.\u003c/p>\n\u003cp>“I wouldn’t be the first person to have a big opportunity, have that opportunity not work out and then disappear into the ether,” Bell said.\u003c/p>\n\u003cp>At the time, Bell had a daughter at home and another on the way, so he felt he couldn’t just give up on show business. He returned to stand-up comedy, but he also took a lot of meetings, mostly with news organizations who were looking to make their political coverage more entertaining. One of those meetings was at CNN.\u003c/p>\n\u003cfigure id=\"attachment_13808403\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-800x800.jpg\" alt=\"W. Kamau Bell with his Emmy\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13808403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell with his Emmy. \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CNN initially pitched a travel show in the same vein as Anthony Bourdain’s \u003ci>Parts Unknown\u003c/i> or \u003ci>This Is Life With Lisa Ling,\u003c/i> but its focus would be on sending a black comedian to largely white areas in America. Bell liked the idea of a travel show, but shot down the “white area” premise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It would’ve been, ‘Once again, Kamau goes to the country club! It just wouldn’t have had the same impact,” Bell said. \u003c/p>\n\u003cp>Kamau and the production company All3Media decided to use the show to explore \u003ca href=\"http://deadline.com/2015/03/kamau-bell-reza-aslan-cnn-kevin-spacey-1201389691/\" target=\"_blank\" rel=\"noopener\">the country’s subcultures\u003c/a>, and came up with the name \u003ci>United Shades of America.\u003c/i>\u003c/p>\n\u003cp>Yet the first place Bell and the team to decided to visit couldn’t have been more white: the home base of the Ku Klux Klan. The pilot episode, which seemed on its face to be a dangerous trip for its 6-foot-4-inch black host, was Bell’s idea.\u003c/p>\n\u003cp>“They couldn’t have talked me into it if it wasn’t my idea,” Bell said. \u003c/p>\n\u003cp>Bell said he’s always been interested in the KKK, and the episode shot for the show’s first season provided a revealing look at the current state of white supremacy almost a year before the riots in \u003ca href=\"http://www.aljazeera.com/news/2017/08/charlottesville-attack-170813081045115.html\" target=\"_blank\" rel=\"noopener\">Charlottesville\u003c/a>. Aired to great critical reception, it showed that white supremacists were quite organized in some areas of the south, and that cross-burnings were still a tradition in others.\u003c/p>\n\u003cp>“Since then, if I’m ever stopped in an airport, 80 percent of the time we’re talking about the KKK,” Bell said.\u003c/p>\n\u003cp>It became the show’s flagship episode, leading to the show’s first Emmy nomination, recognition which Bell cites as the reason for CNN’s decision to extend the show a second season. (\u003ci>United Shades\u003c/i> lost the Emmy to \u003ci>Born This Way\u003c/i> that year.)\u003c/p>\n\u003cp>Bell and his team kicked off the second season with a show that focused on immigration but also touched on white supremacy — it even featured an interview with \u003ca href=\"http://www.cnn.com/videos/tv/2017/04/19/united-shades-of-america-richard-spencer-ron-1.cnn/video/playlists/w-kamau-bell-united-shades/\" target=\"_blank\" rel=\"noopener\">white nationalist Richard Spencer\u003c/a>. But while that was the episode “everyone talked about,” according to Bell, this year CNN submitted an episode about Chicago’s persistent gang violence for Emmy consideration. For Bell, it was the highlight of \u003ci>United Shades’\u003c/i> second season because it not only portrayed the region’s problems but how hard the community was working to fix them. \u003c/p>\n\u003cp>“It showed a lot of men who are active members of gangs or had been in gangs, talking about why they knew that wasn’t the life they should be in, and they all had solutions to the problems,” Bell said. “If we solve Chicago’s problem, we solve the problems of all the urban environments in this country.” \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IlN6GRtcWMo'\n title='//www.youtube.com/embed/IlN6GRtcWMo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After the second season, the show was nominated for two Emmys — Outstanding Unstructured Reality Program and Outstanding Host for a Reality or Reality-Competition Program. The second nomination was a surprise for Bell. \u003c/p>\n\u003cp>“I was shocked by that, because I was up against Adam Baldwin, and RuPaul, and Heidi Klum and Tim Gunn, and Snoop Dogg and Martha Stewart. I can’t even get into that afterparty!” Bell said.\u003c/p>\n\u003cp>Bell lost the hosting Emmy to RuPaul (according to Bell, “RuPaul should win all the awards”) but the show itself won, which Bell said he appreciates for the honor it extends to the whole production team, some of whom have worked in TV for decades without Emmy recognition.\u003c/p>\n\u003cp>“If I had to choose between me winning my own award and the show winning, I’d chose the show every time,” Bell said. “It’s just more fun that way.”\u003c/p>\n\u003cp>Now back in Berkeley, Bell remains busy. Between hosting \u003ca href=\"http://www.wkamaubell.com/podcasts/\" target=\"_blank\" rel=\"noopener\">multiple podcasts\u003c/a> and performing standup \u003ca href=\"https://www.eventbrite.com/e/verdi-wild-things-are-standup-comedy-wfiorentini-muse-green-tickets-32992965849\" target=\"_blank\" rel=\"noopener\">Sept. 14 at the Verdi Club\u003c/a> in San Francisco, he’s currently working on a third season of \u003ci>United Shades of America\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The week on the Do List we welcome co-host Eli Wirtschafter, a musician, theater person, and contributing reporter for KQED! Listen to the picks above, and click through for more details on each show below.\u003c/p>\n\u003cp>\u003cstrong>Sept. 21-26:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWbU\" target=\"_blank\" rel=\"noopener noreferrer\">Songs from a folk-singing nomad now settled in Los Angeles\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 17:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWc5\" target=\"_blank\" rel=\"noopener noreferrer\"> A million much-needed, free laughs at Comedy Day in Golden Gate Park\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 23 &24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWbH\" target=\"_blank\" rel=\"noopener noreferrer\">A dance company explores the story of Moses and the exodus through an African American lens\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Aug. 25-Jan. 14:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW3L\" target=\"_blank\" rel=\"noopener noreferrer\">A San Jose Museum show that welcomes selfies and explores their long history in photography\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept. 16: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWc8\" target=\"_blank\" rel=\"noopener noreferrer\">A hip-hop oratorio for challenging times from Ensemble Mik Nawooj\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 21:\u003c/strong> \u003ca href=\"https://www.loscenzontles.com/tourdates/one-lobo-one-night-david-hidalgo-w-los-cenzontles\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Los Cenzontles play a show on their home stage in San Pablo, with guest David Hidalgo of Los Lobos\u003c/span>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 26: \u003c/strong>\u003ca href=\"http://www.swedishamericanhall.com/main/calendar/sam-amidon/\" target=\"_blank\" rel=\"noopener noreferrer\">Sam Amidon brings his serious folk songs and deadpan humor to Cafe du Nord\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The week on the Do List we welcome co-host Eli Wirtschafter, a musician, theater person, and contributing reporter for KQED! Listen to the picks above, and click through for more details on each show below.\u003c/p>\n\u003cp>\u003cstrong>Sept. 21-26:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VWbU\" target=\"_blank\" rel=\"noopener noreferrer\">Songs from a folk-singing nomad now settled in Los Angeles\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 17:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWc5\" target=\"_blank\" rel=\"noopener noreferrer\"> A million much-needed, free laughs at Comedy Day in Golden Gate Park\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Sept. 23 &24: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VWbH\" target=\"_blank\" rel=\"noopener noreferrer\">A dance company explores the story of Moses and the exodus through an African American lens\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Aug. 25-Jan. 14:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VW3L\" target=\"_blank\" rel=\"noopener noreferrer\">A San Jose Museum show that welcomes selfies and explores their long history in photography\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bedouine is\u003cspan style=\"font-weight: 400\"> the stage name of Azniv Korkejian,\u003c/span>\u003cspan style=\"font-weight: 400\"> an Armenian born in Syria who’s settled now in Los Angeles, and she’s one of the few singer-songwriters working today who really sounds like a folk musician, with a voice right to the soul. My Do List co-host this week, Eli Wirtschafter, says it’s been a while since he’s fallen in love with a musician like he has with Bedouine, and he loves the lush arrangements on her debut CD. Fascinating side note: she did the music editing on \u003ca href=\"http://www.thebigsickmovie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kumail Najiani’s \u003cem>The Big Sick\u003c/em>\u003c/a>, the sleeper comedy hit of this past summer. She’s at Harlow’s in Sacramento Sept. 21, Sweetwater in Mill Valley Sept. 24, and Freight and Salvage in Berkeley Sept. 26. \u003ca href=\"https://www.bedouinemusic.com/tour\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6p-OFHW5WGA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The African American choreographer Reggie Wilson never seems satisfied with one idea or theme in his work. His dance \u003cem>Moses(es)\u003c/em>, performed Sept. 23 and 24 at Zellerbach Hall, is about the African diaspora, with music based on clapping and chants developed by Wilson and his collaborators. But it’s also an exploration of ideas about the biblical prophet Wilson explored during trips he took to Israel, Turkey, Egypt and Mali, and the urge to dramatize Zora Neale Hurston’s novel \u003cem>Moses,\u003c/em> \u003cem>Man of the Mountain,\u003c/em> which sets the story in the African American experience.\u003c/p>\n\u003cp>What color was Moses, Wilson wondered in a phone interview, and what do we learn from his story about how to govern a people? “The story is very much the story of \u003ca href=\"https://en.wikipedia.org/wiki/Hammurabi\" target=\"_blank\" rel=\"noopener noreferrer\">Hammurabai, \u003c/a>it’s the story of Jesus, it’s the story of leadership, it’s the story of a President leading or not leading a country, about how do we choose a leader, about why do certain individuals decide to get behind a particular leader or not.” Deatils for the show are \u003ca href=\"https://calperformances.org/performances/2017-18/dance/reggie-wilson-fist-and-heel-performance-group-moses-es.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=37&v=2g4TdWVFqfM\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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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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"politicalbreakdown": {
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"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": {
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"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": {
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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.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
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