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"title": "The L.A. Rebellion: How the Watts Riots Helped Spark a Cinematic Revolution",
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"content": "\u003cp>In Haile Gerima’s 1975 student film \u003ca href=\"https://www.youtube.com/watch?v=Himxf4s_qgk\">“Bush Mama,”\u003c/a> the character T.C., played by actor Johnny Weathers, leans up against the bars of his jail cell and speaks directly to the camera.\u003c/p>\n\u003cp>“Now ya see this white boy,” says T.C. referring to a white guard.\u003c/p>\n\u003cp>“To guard niggers is within his blood,” says T.C., fingers wrapped tight around the cell bars.\u003c/p>\n\u003cp>“His roots is maybe ‘overseer,’ and we still the son of the slave. That’s what I inherited … all of us!”\u003c/p>\n\u003cfigure id=\"attachment_10633182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"591\" class=\"wp-image-10633182 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1440x1064.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1180x872.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-960x710.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Weathers in a scene from from Haile Gerima’s film “Bush Mama” \u003ccite>(Haile Germia / Youtube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bush Mama” is one of the landmark films to come out of the first wave of black student filmmakers at UCLA, a tightly knit band of experimental, ideological and fiercely independent artists known as the \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/story-la-rebellion\">L.A. Rebellion\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’d turn the riot-torn streets of Watts and other south L.A. communities into the real-life soundstage for work that bucked the Hollywood system.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/218278055″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>In “Bush Mama,” a disillusioned Vietnam War veteran, T.C., is convicted of a crime he didn’t commit. And life at home is starting to unravel for his pregnant wife Dorothy.\u003c/p>\n\u003cp>Much of the film is told through their correspondence.\u003c/p>\n\u003cp>The film was largely improvisational. Scenes filmed on the streets of Watts were shot without permits.\u003c/p>\n\u003cp>“Everything was guerilla style, from getting the equipment out of UCLA to shooting without permits,” says UCLA Film & Television Archive Director Christopher Horak. “’Bush Mama’ opens with the police arresting the crew.”\u003c/p>\n\u003cp>Gerima said he and other young black filmmakers at UCLA wanted to make movies depicting African-American life as it really was — a deliberate counterattack to the outlandish jive-talking hyper-violence of ’70s blaxploitation films like “Super Fly” and its countless imitators.\u003c/p>\n\u003cp>“We revolted so much. We didn’t want to see, respect any Euro-American cinema, even the good ones,” Gerima told an audience at New York’s New School of Media Studies during a retrospective of his work.\u003c/p>\n\u003cp>Gerima says the aim was to elevate, not denigrate African-American life and culture.\u003c/p>\n\u003cfigure id=\"attachment_10633180\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg\" alt=\"Charles Burnett's film "Killer of Sheep" is a landmark of the L.A. Rebellion shot in and around Watts in the early '70s.\" width=\"750\" height=\"500\" class=\"size-full wp-image-10633180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Charles Burnett’s film “Killer of Sheep” is a landmark of the L.A. Rebellion shot in and around Watts in the early ’70s. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the (UCLA) film school, we say if black people did jazz, what do they do in film? And so we were responding in a very critical way, saying these narrative devices that were racist for us,” Gerima says.\u003c/p>\n\u003cp>The integration of UCLA’s film school began in earnest during the Civil Rights and anti-war movements of the late 1960s, spurred on in the violent wake of the 1965 \u003ca href=\"https://www.youtube.com/watch?v=8zV9X-E6gc0\">Watts riots\u003c/a>, or “rebellion” as many people prefer to call the week of civil unrest.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Everyone had to be some cool, slick jive mama…And I wanted to see something else.’\u003ccite>Filmmaker Julie Dash\u003c/cite>\u003c/aside>\n\u003cp>“And so it’s really the first generation of minority students at UCLA, and they were not necessarily welcomed,” Horak says.\u003c/p>\n\u003cp>He says what distinguished these filmmakers were a mix of radical politics and gritty street style.\u003c/p>\n\u003cp>“Students as well as professors at UCLA just were not used to seeing that type of content presented in that kind of way,” Horak says.\u003c/p>\n\u003cp>“We were not seen as normal,” laughs director \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/julie-dash\">Julie Dash\u003c/a>.\u003c/p>\n\u003cp>Dash, a New York native, arrived in California in the mid-1970s to pursue graduate studies at UCLA. She would go on to make a number of acclaimed films including 1991’s “Daughters of the Dust.” Dash says the filmmakers who made up L.A. Rebellion stood out for other reasons, too.\u003c/p>\n\u003cp>“Because we spent our lives on campus all the time, in sleeping bags, we just worked around the clock,” Dash says.\u003c/p>\n\u003cfigure id=\"attachment_10634116\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10634116\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles stands in for Uganda in Julie Dash’s 1977 short film “The Diary of an African Nun,” based on a short story by Alice Walker. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Either working on our personal films or someone else’s film, and we just found ourselves living pretty much on campus all the time,” Dash says.\u003c/p>\n\u003cp>And the way more senior student directors like Haile Gerima depicted black Los Angeles was a revelation to Dash.\u003c/p>\n\u003cp>“That was not the place that played in my mind when I thought of California, I thought of palm trees and everything you see on television, that narrative of life,” Dash says.\u003c/p>\n\u003cp>One of the most celebrated films to emerge from the L.A. Rebellion is Charles Burnett’s \u003ca href=\"https://www.youtube.com/watch?v=-nXw-8MXhVE\">“Killer of Sheep.”\u003c/a>\u003c/p>\n\u003cp>Burnett, influenced in part by post-War War II Italian neo-realist films that used war-torn cities as their backdrop, took a similar approach.\u003c/p>\n\u003cp>Shot in black and white, the story revolves around a slaughterhouse worker named Stan and his family. Their daily struggles unfold in the blue-collar homes, dusty vacant lots and the crooked alleyways of Watts.\u003c/p>\n\u003cp>Burnett, who went on to make a number of more commercial films like “The Glass Shield” and “To Sleep with Anger,” was unavailable for an interview.\u003c/p>\n\u003cp>But in the commentary from the long-awaited DVD release of “Killer of Sheep,” he talks about his time at UCLA.\u003c/p>\n\u003cp>“We were going to make a difference and introduce new narratives about the black experience and we were reacting against all the negative stereotypes that Hollywood continued to produce,” Burnett says. “You know, turn back to our own stories and try to tell them.”\u003c/p>\n\u003cfigure id=\"attachment_10634102\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634102\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Charles Burnett’s 1973 short film “The Horse.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from the occasional screening at a library or local theater, the films of L.A. Rebellion would go largely unseen off campus. A lot of the original prints would disappear into attics, garages and in one case, a backyard chicken coop in Compton.\u003c/p>\n\u003cp>“And we found it in the dirt at the very back of the shed after cleaning out for like a whole day,” laughs UCLA’s Christopher Horak.\u003c/p>\n\u003cp>In 2011, UCLA launched in initiative to track down and restore the film of the era.\u003c/p>\n\u003cp>That includes Julie Dash’s first student feature “Illusions,” shot on the UCLA campus.\u003c/p>\n\u003cp>It set the tone for the kind of films Dash would go on to make. Most famously, the critically acclaimed “Daughters of the Dust” — the first feature film directed by an African-American woman to get a major theatrical release and a story Dash was developing while still at UCLA.\u003c/p>\n\u003cp>“I just wanted to explore the culture of African-American women that I was not really seeing,” Dash says.\u003c/p>\n\u003cp>“Everyone had to be some cool, slick jive mama,” Dash laughs. “And I wanted to see something else.”\u003c/p>\n\u003cfigure id=\"attachment_10634103\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634103\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lonette McKee in Julie Dash’s 1982 student film “Illusions.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited exposure, films and filmmakers from L.A. Rebellion left an indelible mark on future black filmmakers like \u003ca href=\"http://www.openculture.com/2014/11/spike-lees-list-of-95-essential-movies.html\">Spike Lee\u003c/a> and John Singleton, both of whom acknowledge the influence of films like “Killer of Sheep” and “Daughters of the Dust.”\u003c/p>\n\u003cp>“The best work holds up really well and there were amazing discoveries we made in this whole process,” says Horak.\u003c/p>\n\u003cp>Many of the films from the L.A. Rebellion era will be included in a 25-DVD box set that will be distributed to schools, libraries and other institutions later this year along with a book published by University of California Press chronicling the movement.\u003c/p>\n\u003cp>“They were very meaningful and they continue to be meaningful,” Dash says. “They document a time period and they document very specific voices we had not seen or heard before. That’s why they’re like treasures.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Treasures that continue to be unearthed, literally dusted off and placed alongside some of the finest films of the era.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Haile Gerima’s 1975 student film \u003ca href=\"https://www.youtube.com/watch?v=Himxf4s_qgk\">“Bush Mama,”\u003c/a> the character T.C., played by actor Johnny Weathers, leans up against the bars of his jail cell and speaks directly to the camera.\u003c/p>\n\u003cp>“Now ya see this white boy,” says T.C. referring to a white guard.\u003c/p>\n\u003cp>“To guard niggers is within his blood,” says T.C., fingers wrapped tight around the cell bars.\u003c/p>\n\u003cp>“His roots is maybe ‘overseer,’ and we still the son of the slave. That’s what I inherited … all of us!”\u003c/p>\n\u003cfigure id=\"attachment_10633182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"591\" class=\"wp-image-10633182 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1440x1064.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1180x872.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-960x710.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Weathers in a scene from from Haile Gerima’s film “Bush Mama” \u003ccite>(Haile Germia / Youtube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bush Mama” is one of the landmark films to come out of the first wave of black student filmmakers at UCLA, a tightly knit band of experimental, ideological and fiercely independent artists known as the \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/story-la-rebellion\">L.A. Rebellion\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’d turn the riot-torn streets of Watts and other south L.A. communities into the real-life soundstage for work that bucked the Hollywood system.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/218278055″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/218278055″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In “Bush Mama,” a disillusioned Vietnam War veteran, T.C., is convicted of a crime he didn’t commit. And life at home is starting to unravel for his pregnant wife Dorothy.\u003c/p>\n\u003cp>Much of the film is told through their correspondence.\u003c/p>\n\u003cp>The film was largely improvisational. Scenes filmed on the streets of Watts were shot without permits.\u003c/p>\n\u003cp>“Everything was guerilla style, from getting the equipment out of UCLA to shooting without permits,” says UCLA Film & Television Archive Director Christopher Horak. “’Bush Mama’ opens with the police arresting the crew.”\u003c/p>\n\u003cp>Gerima said he and other young black filmmakers at UCLA wanted to make movies depicting African-American life as it really was — a deliberate counterattack to the outlandish jive-talking hyper-violence of ’70s blaxploitation films like “Super Fly” and its countless imitators.\u003c/p>\n\u003cp>“We revolted so much. We didn’t want to see, respect any Euro-American cinema, even the good ones,” Gerima told an audience at New York’s New School of Media Studies during a retrospective of his work.\u003c/p>\n\u003cp>Gerima says the aim was to elevate, not denigrate African-American life and culture.\u003c/p>\n\u003cfigure id=\"attachment_10633180\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg\" alt=\"Charles Burnett's film "Killer of Sheep" is a landmark of the L.A. Rebellion shot in and around Watts in the early '70s.\" width=\"750\" height=\"500\" class=\"size-full wp-image-10633180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Charles Burnett’s film “Killer of Sheep” is a landmark of the L.A. Rebellion shot in and around Watts in the early ’70s. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the (UCLA) film school, we say if black people did jazz, what do they do in film? And so we were responding in a very critical way, saying these narrative devices that were racist for us,” Gerima says.\u003c/p>\n\u003cp>The integration of UCLA’s film school began in earnest during the Civil Rights and anti-war movements of the late 1960s, spurred on in the violent wake of the 1965 \u003ca href=\"https://www.youtube.com/watch?v=8zV9X-E6gc0\">Watts riots\u003c/a>, or “rebellion” as many people prefer to call the week of civil unrest.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Everyone had to be some cool, slick jive mama…And I wanted to see something else.’\u003ccite>Filmmaker Julie Dash\u003c/cite>\u003c/aside>\n\u003cp>“And so it’s really the first generation of minority students at UCLA, and they were not necessarily welcomed,” Horak says.\u003c/p>\n\u003cp>He says what distinguished these filmmakers were a mix of radical politics and gritty street style.\u003c/p>\n\u003cp>“Students as well as professors at UCLA just were not used to seeing that type of content presented in that kind of way,” Horak says.\u003c/p>\n\u003cp>“We were not seen as normal,” laughs director \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/julie-dash\">Julie Dash\u003c/a>.\u003c/p>\n\u003cp>Dash, a New York native, arrived in California in the mid-1970s to pursue graduate studies at UCLA. She would go on to make a number of acclaimed films including 1991’s “Daughters of the Dust.” Dash says the filmmakers who made up L.A. Rebellion stood out for other reasons, too.\u003c/p>\n\u003cp>“Because we spent our lives on campus all the time, in sleeping bags, we just worked around the clock,” Dash says.\u003c/p>\n\u003cfigure id=\"attachment_10634116\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10634116\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles stands in for Uganda in Julie Dash’s 1977 short film “The Diary of an African Nun,” based on a short story by Alice Walker. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Either working on our personal films or someone else’s film, and we just found ourselves living pretty much on campus all the time,” Dash says.\u003c/p>\n\u003cp>And the way more senior student directors like Haile Gerima depicted black Los Angeles was a revelation to Dash.\u003c/p>\n\u003cp>“That was not the place that played in my mind when I thought of California, I thought of palm trees and everything you see on television, that narrative of life,” Dash says.\u003c/p>\n\u003cp>One of the most celebrated films to emerge from the L.A. Rebellion is Charles Burnett’s \u003ca href=\"https://www.youtube.com/watch?v=-nXw-8MXhVE\">“Killer of Sheep.”\u003c/a>\u003c/p>\n\u003cp>Burnett, influenced in part by post-War War II Italian neo-realist films that used war-torn cities as their backdrop, took a similar approach.\u003c/p>\n\u003cp>Shot in black and white, the story revolves around a slaughterhouse worker named Stan and his family. Their daily struggles unfold in the blue-collar homes, dusty vacant lots and the crooked alleyways of Watts.\u003c/p>\n\u003cp>Burnett, who went on to make a number of more commercial films like “The Glass Shield” and “To Sleep with Anger,” was unavailable for an interview.\u003c/p>\n\u003cp>But in the commentary from the long-awaited DVD release of “Killer of Sheep,” he talks about his time at UCLA.\u003c/p>\n\u003cp>“We were going to make a difference and introduce new narratives about the black experience and we were reacting against all the negative stereotypes that Hollywood continued to produce,” Burnett says. “You know, turn back to our own stories and try to tell them.”\u003c/p>\n\u003cfigure id=\"attachment_10634102\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634102\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Charles Burnett’s 1973 short film “The Horse.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from the occasional screening at a library or local theater, the films of L.A. Rebellion would go largely unseen off campus. A lot of the original prints would disappear into attics, garages and in one case, a backyard chicken coop in Compton.\u003c/p>\n\u003cp>“And we found it in the dirt at the very back of the shed after cleaning out for like a whole day,” laughs UCLA’s Christopher Horak.\u003c/p>\n\u003cp>In 2011, UCLA launched in initiative to track down and restore the film of the era.\u003c/p>\n\u003cp>That includes Julie Dash’s first student feature “Illusions,” shot on the UCLA campus.\u003c/p>\n\u003cp>It set the tone for the kind of films Dash would go on to make. Most famously, the critically acclaimed “Daughters of the Dust” — the first feature film directed by an African-American woman to get a major theatrical release and a story Dash was developing while still at UCLA.\u003c/p>\n\u003cp>“I just wanted to explore the culture of African-American women that I was not really seeing,” Dash says.\u003c/p>\n\u003cp>“Everyone had to be some cool, slick jive mama,” Dash laughs. “And I wanted to see something else.”\u003c/p>\n\u003cfigure id=\"attachment_10634103\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634103\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lonette McKee in Julie Dash’s 1982 student film “Illusions.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited exposure, films and filmmakers from L.A. Rebellion left an indelible mark on future black filmmakers like \u003ca href=\"http://www.openculture.com/2014/11/spike-lees-list-of-95-essential-movies.html\">Spike Lee\u003c/a> and John Singleton, both of whom acknowledge the influence of films like “Killer of Sheep” and “Daughters of the Dust.”\u003c/p>\n\u003cp>“The best work holds up really well and there were amazing discoveries we made in this whole process,” says Horak.\u003c/p>\n\u003cp>Many of the films from the L.A. Rebellion era will be included in a 25-DVD box set that will be distributed to schools, libraries and other institutions later this year along with a book published by University of California Press chronicling the movement.\u003c/p>\n\u003cp>“They were very meaningful and they continue to be meaningful,” Dash says. “They document a time period and they document very specific voices we had not seen or heard before. That’s why they’re like treasures.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Treasures that continue to be unearthed, literally dusted off and placed alongside some of the finest films of the era.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "made-in-oakland-in-1916-first-asian-american-film-still-inspires",
"title": "Made in Oakland in 1916, First Asian American Film Still Inspires",
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"headTitle": "Made in Oakland in 1916, First Asian American Film Still Inspires | KQED",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/218248496″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curse-of-quon-gwan/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Curse of Quon Gwan’\u003c/h2>\n\u003cdiv class=\"event-desc\">A screening of the first film to be made by Chinese Americans in the U.S.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Oakland Asian Cultural Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curse-of-quon-gwan/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://www.csus.edu/ethn/faculty%20and%20staff/mark.html\" target=\"_blank\" rel=\"noopener\">Gregory Mark\u003c/a> remembers exactly when he found out about his grandmother Violet Wong’s brief silent film career. It was 1969, and she took him into the basement of the family home.\u003c/p>\n\u003cp>“And in the corner of the basement,” Mark said in a recent interview, “she pointed to a canister that had three reels of film. And she said to me, and I remember her exact words: ‘You do something about this.’”\u003c/p>\n\u003cp>The film was \u003ca href=\"https://vimeo.com/ondemand/38504/127781435\" target=\"_blank\" rel=\"noopener\">\u003cem>The Curse of Quon Gwon\u003c/em>,\u003c/a> and Violet was one of its stars. Marion, Violet’s sister-in-law and Mark’s great aunt, wrote, directed and co-starred in the film with Violet in 1916, a time when the movie business wasn’t a friendly place for women or people of color — still an issue in Hollywood today.\u003c/p>\n\u003cfigure id=\"attachment_10881879\" class=\"wp-caption alignright\" style=\"max-width: 259px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10881879\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-2.jpg\" alt='A still from \"The Curse of Quon Gwon\"' width=\"259\" height=\"194\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\u003cp>Mark had the three surviving reels of \u003cem>Curse\u003c/em> copied to 16mm film, and a few years later, he and some cousins watched \u003cem>Curse\u003c/em> with his grandmother.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We were all young men at that time period,” Mark recalled. “We teased her and said, ‘Oh grandma you’re so hot, you’re so beautiful’. And she loved every single moment of that, because we saw her as a 20-year-old woman in the film.”\u003c/p>\n\u003cp>Curse tells a melodramatic love story about two thoroughly-Americanized Chinese immigrants. It’s set mostly in Oakland, where Marion, Violet and their families lived. Mark, who teaches ethnic studies at Sacramento State, thinks the film was clearly designed to defy stereotypes common at the time about Chinese Americans, a persecuted minority in the U.S..\u003c/p>\n\u003cfigure id=\"attachment_10881880\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10881880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-3-929x1180.jpg\" alt='A news clipping about Marion Wong, who wrote, directed, and starred in the early silent film \"The Curse of Quon Gwon\"' width=\"640\" height=\"813\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-929x1180.jpg 929w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-400x508.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-473x600.jpg 473w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3.jpg 1260w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A news clipping about Marion Wong, who wrote, directed, and starred in the early silent film “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\u003cp>“Her intention was to show the world that we were everyday people,” Mark said. “That we were not all opium fiends, the women (were not all) prostitutes. Everyone (wasn’t) a laundryman.”\u003c/p>\n\u003cp>Mark says Marion Wong tried to get distributors to put \u003cem>Curse\u003c/em> in theaters, but she was turned down. Mark thinks part of the reason was prejudice against a woman of color, but he says there was also a limited market, with just 63,000 Chinese Americans living in the U.S. at the time.\u003c/p>\n\u003cp>There was no question about \u003cem>The Curse of Quon Gwon’s\u003c/em> historic importance as the first film made in the U.S. by an Asian American, back when Mark brought it to the attention of filmmaker \u003ca href=\"http://deepfocusproductions.com/biography.php\" target=\"_blank\" rel=\"noopener\">Arthur Dong\u003c/a>. He brought the 35mm nitrate reels to the attention of the \u003ca href=\"http://www.oscars.org/film-archive\" target=\"_blank\" rel=\"noopener\">Academy Film Archive,\u003c/a> which restored the film in 2005. It was added a year later to the \u003ca href=\"http://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/\" target=\"_blank\" rel=\"noopener\">National Film Registry\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The Curse of Quon Gwon\u003c/em> has been shown a few times since then. But Mark says this screening is meant to “do something,” as Violet Wong requested, for the next generation of Wong’s descendants.\u003c/p>\n\u003cp>Mark’s daughter Alexa says people sometimes ask her how it is she speaks English so well, even though she’s a third generation American, proving that the movie’s themes seem as critical today as they did 100 years ago.\u003c/p>\n\u003cp>“There’s still the fight for feminism,” Alexa Mark said. “And this film just seems to have just everything we’re still fighting for embodied into one piece.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Gregory Mark expects dozens of the filmmakers descendants to attend a public screening of the film Sunday afternoon (August 9) at the \u003ca href=\"http://oacc.cc/\" target=\"_blank\" rel=\"noopener\">Oakland Asian Cultural Center\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10881884\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10881884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-4.jpg\" alt='Screening of \"The Curse of Quon Gwon\"' width=\"960\" height=\"741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4-777x600.jpg 777w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screening of “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "This Saturday, the Bay Area will be treated to showing of 'The Curse of Quon Gwon,' the first film made by an Asian American, which was shot in Oakland back in 1916. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/218248496″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/218248496″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curse-of-quon-gwan/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Curse of Quon Gwan’\u003c/h2>\n\u003cdiv class=\"event-desc\">A screening of the first film to be made by Chinese Americans in the U.S.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Oakland Asian Cultural Center\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/curse-of-quon-gwan/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://www.csus.edu/ethn/faculty%20and%20staff/mark.html\" target=\"_blank\" rel=\"noopener\">Gregory Mark\u003c/a> remembers exactly when he found out about his grandmother Violet Wong’s brief silent film career. It was 1969, and she took him into the basement of the family home.\u003c/p>\n\u003cp>“And in the corner of the basement,” Mark said in a recent interview, “she pointed to a canister that had three reels of film. And she said to me, and I remember her exact words: ‘You do something about this.’”\u003c/p>\n\u003cp>The film was \u003ca href=\"https://vimeo.com/ondemand/38504/127781435\" target=\"_blank\" rel=\"noopener\">\u003cem>The Curse of Quon Gwon\u003c/em>,\u003c/a> and Violet was one of its stars. Marion, Violet’s sister-in-law and Mark’s great aunt, wrote, directed and co-starred in the film with Violet in 1916, a time when the movie business wasn’t a friendly place for women or people of color — still an issue in Hollywood today.\u003c/p>\n\u003cfigure id=\"attachment_10881879\" class=\"wp-caption alignright\" style=\"max-width: 259px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10881879\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-2.jpg\" alt='A still from \"The Curse of Quon Gwon\"' width=\"259\" height=\"194\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\u003cp>Mark had the three surviving reels of \u003cem>Curse\u003c/em> copied to 16mm film, and a few years later, he and some cousins watched \u003cem>Curse\u003c/em> with his grandmother.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We were all young men at that time period,” Mark recalled. “We teased her and said, ‘Oh grandma you’re so hot, you’re so beautiful’. And she loved every single moment of that, because we saw her as a 20-year-old woman in the film.”\u003c/p>\n\u003cp>Curse tells a melodramatic love story about two thoroughly-Americanized Chinese immigrants. It’s set mostly in Oakland, where Marion, Violet and their families lived. Mark, who teaches ethnic studies at Sacramento State, thinks the film was clearly designed to defy stereotypes common at the time about Chinese Americans, a persecuted minority in the U.S..\u003c/p>\n\u003cfigure id=\"attachment_10881880\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10881880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-3-929x1180.jpg\" alt='A news clipping about Marion Wong, who wrote, directed, and starred in the early silent film \"The Curse of Quon Gwon\"' width=\"640\" height=\"813\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-929x1180.jpg 929w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-400x508.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-473x600.jpg 473w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-1180x1498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3-960x1219.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-3.jpg 1260w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A news clipping about Marion Wong, who wrote, directed, and starred in the early silent film “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\u003cp>“Her intention was to show the world that we were everyday people,” Mark said. “That we were not all opium fiends, the women (were not all) prostitutes. Everyone (wasn’t) a laundryman.”\u003c/p>\n\u003cp>Mark says Marion Wong tried to get distributors to put \u003cem>Curse\u003c/em> in theaters, but she was turned down. Mark thinks part of the reason was prejudice against a woman of color, but he says there was also a limited market, with just 63,000 Chinese Americans living in the U.S. at the time.\u003c/p>\n\u003cp>There was no question about \u003cem>The Curse of Quon Gwon’s\u003c/em> historic importance as the first film made in the U.S. by an Asian American, back when Mark brought it to the attention of filmmaker \u003ca href=\"http://deepfocusproductions.com/biography.php\" target=\"_blank\" rel=\"noopener\">Arthur Dong\u003c/a>. He brought the 35mm nitrate reels to the attention of the \u003ca href=\"http://www.oscars.org/film-archive\" target=\"_blank\" rel=\"noopener\">Academy Film Archive,\u003c/a> which restored the film in 2005. It was added a year later to the \u003ca href=\"http://www.loc.gov/programs/national-film-preservation-board/film-registry/complete-national-film-registry-listing/\" target=\"_blank\" rel=\"noopener\">National Film Registry\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The Curse of Quon Gwon\u003c/em> has been shown a few times since then. But Mark says this screening is meant to “do something,” as Violet Wong requested, for the next generation of Wong’s descendants.\u003c/p>\n\u003cp>Mark’s daughter Alexa says people sometimes ask her how it is she speaks English so well, even though she’s a third generation American, proving that the movie’s themes seem as critical today as they did 100 years ago.\u003c/p>\n\u003cp>“There’s still the fight for feminism,” Alexa Mark said. “And this film just seems to have just everything we’re still fighting for embodied into one piece.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Gregory Mark expects dozens of the filmmakers descendants to attend a public screening of the film Sunday afternoon (August 9) at the \u003ca href=\"http://oacc.cc/\" target=\"_blank\" rel=\"noopener\">Oakland Asian Cultural Center\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10881884\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10881884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Curse-4.jpg\" alt='Screening of \"The Curse of Quon Gwon\"' width=\"960\" height=\"741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4-400x309.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Curse-4-777x600.jpg 777w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screening of “The Curse of Quon Gwon”\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Composer Mason Bates to Create New Steve Jobs Opera",
"headTitle": "Bay Area Composer Mason Bates to Create New Steve Jobs Opera | KQED",
"content": "\u003cp>\u003cem>\u003ca href=\"http://www.imdb.com/title/tt2080374/\" target=\"_blank\" rel=\"noopener\">Steve Jobs\u003c/a>\u003c/em> the movie was recently filmed at San Francisco Opera, and now a Steve Jobs opera by a Bay Area-based composer will receive its world premiere in Santa Fe. The world-renowned Santa Fe Opera announced the commission of an opera about the iconic Bay Area tech entrepreneur for its 2017 season. \u003cem>The (R)evolution of Steve Jobs\u003c/em> will be composed by Burlingame resident \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a> with a libretto from \u003ca href=\"http://www.markcampbellwords.com/\">Mark Campbell\u003c/a>.\u003c/p>\n\u003cp>Bates is famous as a track suit wearing DJ and the second most performed living composer after John Adams, while Campbell is best known as the librettist for the opera \u003cem>\u003ca href=\"http://www.kevinputs.com/SilentNight/\" target=\"_blank\" rel=\"noopener\">Silent Night\u003c/a>\u003c/em>, which won a Pulitzer prize for composer Kevin Puts in 2012. Bates answered some questions about the Jobs work, his first opera.\u003c/p>\n\u003cp>\u003cstrong>What is it about Steve Jobs? Sure, he was charismatic and he was instrumental in getting Apple’s sleek products in everybody’s pockets. But isn’t there something vaguely ironic about an opera about someone whose work routinely interrupts classical music performances?\u003c/strong>\u003c/p>\n\u003cp>The ubiquity of his devices speaks to how much he changed human communication. How can you simplify the richness of our lives onto sleek little devices when people are so messy? That tension lies at the heart of the opera, as does Jobs’ journey from hippie to mogul to — ultimately — a someone with a deeper understanding of true human connection.\u003c/p>\n\u003cp>\u003cstrong>The opera will be workshopped this September in San Francisco in collaboration with Cal Performances at UC Berkeley, and with additional support from San Francisco Conservatory of Music. How does that work? Does that mean you will be working with students from those organizations?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The principal roles will be cast from Santa Fe Opera’s stunning apprentice program, and the ensemble singers will be SF Conservatory students. So yes, there will be a mix of students and professionals. The workshop will be private, I might add, simply because we want some privacy to make mistakes.\u003c/p>\n\u003cp>\u003cstrong>What is the structure of this opera? How many principal characters do you envision for the work? Will there be a chorus?\u003c/strong>\u003c/p>\n\u003cp>We didn’t see the need for a chorus in an opera that takes place, in many scenes at least, in a garage with a handful of people. The principal roles are Steve, his wife Laurene, Kobun [Kobun Chino Otogowa, Jobs’ spiritual advisor], Woz [early business partner Steve Wozniak], and girlfriend Chrisann [Brennan].\u003c/p>\n\u003cp>\u003cstrong>You use electronic sounds in your work and often perform with orchestras. Do you anticipate being in the pit for this opera?\u003c/strong>\u003c/p>\n\u003cp>Absolutely! I think many musicians see the opera pit as a magical place — unless of course you’ve played a thousand Broadway shows, in which case it’s the pits.\u003c/p>\n\u003cp>\u003cstrong>Santa Fe Opera performs at a stunning open-air theater in the desert near the town of Santa Fe. Are there special considerations for composing for this space?\u003c/strong>\u003c/p>\n\u003cp>There are some scenic opportunities. For example, the scenes between Jobs and spiritual advisor Kobun would be wonderful with a desert backdrop.\u003c/p>\n\u003cp>\u003cstrong>Are there contemporary operas that you particularly like or living composers you especially admire? \u003c/strong>\u003c/p>\n\u003cp>I like operas about people. Not products, not ideas. I like roles, and I like memorable music. The music needn’t be simple or tonal, but if it is distinctive enough to be remembered, the opera can impact you much more deeply. [Gyorgy] Ligeti has a wonderful opera called \u003cem>Le Grand Macabre\u003c/em>, and, on the other end of the stylistic spectrum, Mark Adamo has created stunning works that marry words and music so perfectly. Most of all, I love the operas of Benjamin Britten. Innovative music can bring to life compelling stories that haunt you.\u003c/p>\n\u003cp>\u003ci>Listen to a report filed by KQED’s Peter Jon Shuler about the Santa Fe Opera commissioning the opera about Jobs:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/218132185″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://www.imdb.com/title/tt2080374/\" target=\"_blank\" rel=\"noopener\">Steve Jobs\u003c/a>\u003c/em> the movie was recently filmed at San Francisco Opera, and now a Steve Jobs opera by a Bay Area-based composer will receive its world premiere in Santa Fe. The world-renowned Santa Fe Opera announced the commission of an opera about the iconic Bay Area tech entrepreneur for its 2017 season. \u003cem>The (R)evolution of Steve Jobs\u003c/em> will be composed by Burlingame resident \u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a> with a libretto from \u003ca href=\"http://www.markcampbellwords.com/\">Mark Campbell\u003c/a>.\u003c/p>\n\u003cp>Bates is famous as a track suit wearing DJ and the second most performed living composer after John Adams, while Campbell is best known as the librettist for the opera \u003cem>\u003ca href=\"http://www.kevinputs.com/SilentNight/\" target=\"_blank\" rel=\"noopener\">Silent Night\u003c/a>\u003c/em>, which won a Pulitzer prize for composer Kevin Puts in 2012. Bates answered some questions about the Jobs work, his first opera.\u003c/p>\n\u003cp>\u003cstrong>What is it about Steve Jobs? Sure, he was charismatic and he was instrumental in getting Apple’s sleek products in everybody’s pockets. But isn’t there something vaguely ironic about an opera about someone whose work routinely interrupts classical music performances?\u003c/strong>\u003c/p>\n\u003cp>The ubiquity of his devices speaks to how much he changed human communication. How can you simplify the richness of our lives onto sleek little devices when people are so messy? That tension lies at the heart of the opera, as does Jobs’ journey from hippie to mogul to — ultimately — a someone with a deeper understanding of true human connection.\u003c/p>\n\u003cp>\u003cstrong>The opera will be workshopped this September in San Francisco in collaboration with Cal Performances at UC Berkeley, and with additional support from San Francisco Conservatory of Music. How does that work? Does that mean you will be working with students from those organizations?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The principal roles will be cast from Santa Fe Opera’s stunning apprentice program, and the ensemble singers will be SF Conservatory students. So yes, there will be a mix of students and professionals. The workshop will be private, I might add, simply because we want some privacy to make mistakes.\u003c/p>\n\u003cp>\u003cstrong>What is the structure of this opera? How many principal characters do you envision for the work? Will there be a chorus?\u003c/strong>\u003c/p>\n\u003cp>We didn’t see the need for a chorus in an opera that takes place, in many scenes at least, in a garage with a handful of people. The principal roles are Steve, his wife Laurene, Kobun [Kobun Chino Otogowa, Jobs’ spiritual advisor], Woz [early business partner Steve Wozniak], and girlfriend Chrisann [Brennan].\u003c/p>\n\u003cp>\u003cstrong>You use electronic sounds in your work and often perform with orchestras. Do you anticipate being in the pit for this opera?\u003c/strong>\u003c/p>\n\u003cp>Absolutely! I think many musicians see the opera pit as a magical place — unless of course you’ve played a thousand Broadway shows, in which case it’s the pits.\u003c/p>\n\u003cp>\u003cstrong>Santa Fe Opera performs at a stunning open-air theater in the desert near the town of Santa Fe. Are there special considerations for composing for this space?\u003c/strong>\u003c/p>\n\u003cp>There are some scenic opportunities. For example, the scenes between Jobs and spiritual advisor Kobun would be wonderful with a desert backdrop.\u003c/p>\n\u003cp>\u003cstrong>Are there contemporary operas that you particularly like or living composers you especially admire? \u003c/strong>\u003c/p>\n\u003cp>I like operas about people. Not products, not ideas. I like roles, and I like memorable music. The music needn’t be simple or tonal, but if it is distinctive enough to be remembered, the opera can impact you much more deeply. [Gyorgy] Ligeti has a wonderful opera called \u003cem>Le Grand Macabre\u003c/em>, and, on the other end of the stylistic spectrum, Mark Adamo has created stunning works that marry words and music so perfectly. Most of all, I love the operas of Benjamin Britten. Innovative music can bring to life compelling stories that haunt you.\u003c/p>\n\u003cp>\u003ci>Listen to a report filed by KQED’s Peter Jon Shuler about the Santa Fe Opera commissioning the opera about Jobs:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/218132185″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/218132185″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This ragtag Oakland storefront at 23rd Street and Telegraph Avenue was at the geographic center of the original \u003ca href=\"http://oaklandartmurmur.org/\" target=\"_blank\" rel=\"noopener\">Art Murmur\u003c/a> in 2006. It’s an all-in-one art gallery, classroom, clothing shop and activist meeting space. The volunteer-run collective operating \u003ca href=\"http://rpscollective.org/\" target=\"_blank\" rel=\"noopener\">Rock Paper Scissors\u003c/a> exemplifies the city’s social justice-seeking, DIY art and activism scene.\u003c/p>\n\u003cp>But with Oakland rents soaring, they’ve been priced out of their space. August’s will be the last \u003ca href=\"http://www.oaklandfirstfridays.org/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a> street fair and Art Murmur gallery stroll for the collective — the last remaining organization of those that helped start the monthly festival almost a decade ago.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/218061535″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>On a recent East Bay summer evening, volunteers gathered inside the storefront to learn how to become pen pals with LGBTQ prisoners.\u003c/p>\n\u003cp>“It can get really complicated, because if someone’s legal name is John but they go by Jennifer, for instance, you have to put J or John on the outside of the envelope,” said Beja Alisheva, co-facilitator of \u003ca href=\"https://flyingoverwalls.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Flying Over Walls\u003c/a>, a queer/trans prisoner solidarity organization.\u003c/p>\n\u003cfigure id=\"attachment_10632273\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632273 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-800x513.jpg\" alt=\"Flying Over Walls volunteers gather at Rock Paper Scissors to write letters to LGBTQ prisoners.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-1440x924.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128.jpg 1646w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Flying Over Walls volunteers gather at Rock Paper Scissors to write letters to LGBTQ prisoners. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are lots of rules about how the envelopes sent into prisons can be decorated, so they won’t be confiscated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No glitter?” Louis Smith asked incredulously.\u003c/p>\n\u003cp>The letter-writing get-together was just one of dozens of gatherings held at Rock Paper Scissors every month, ranging from writing workshops to a sewing lab and jewelry-making for teens.\u003c/p>\n\u003cp>“When we first came to Rock Paper Scissors looking for a space, they said of course,” Alisheva said. “Obviously, we don’t have a lot of money. It’s not something that brings in a lot of revenue, but that didn’t matter to them.”\u003c/p>\n\u003cp>She added: “It was such a relief when we finally landed here, so now we’re not sure where we’re going to end up.”\u003c/p>\n\u003cp>That’s a sentiment shared with the quirky, creative space’s regulars.\u003c/p>\n\u003cp>“Gentrification is real,” said Alexandra Rigaud, an assistant with the collective’s youth program. “We are getting pushed out, and we did start First Friday … Now we are paying for it.”\u003c/p>\n\u003cp>It’s becoming a common story all over the Bay Area. The artists who, in recent times, made a neighborhood “hip” are being driven out, in part due to their own success.\u003c/p>\n\u003cp>“The neighborhood has changed a lot,” said Kristi Holohan, the collective’s youth, community and interim gallery director. “We are basically like sandwiched in between two bars, there are some really high-end galleries.”\u003c/p>\n\u003cfigure id=\"attachment_10632275\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632275 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-800x450.jpg\" alt=\"The Rock Paper Scissors storefront on 23rd Street and Telegraph Avenue.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Rock Paper Scissors storefront on 23rd Street and Telegraph Avenue. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland Mayor Libby Schaaf said the plight of Rock Paper Scissors raises a much bigger question as the city continues to boom.\u003c/p>\n\u003cp>“It’s not just the housing affordability that is a potential crisis for us,” she said. “The threat of displacement of our small businesses, of our cultural institutions, of our nonprofits — those are also community stabilization issues that absolutely need to be solved.”\u003c/p>\n\u003cp>Schaaf said the city’s “solutions are more limited” because \u003ca href=\"http://www.leginfo.ca.gov/cgi-bin/displaycode?section=civ&group=01001-02000&file=1954.25-1954.31\" target=\"_blank\" rel=\"noopener\">state law prevents\u003c/a> rent stabilization for commercial space. The mayor said she’s creating a new Artist Affordable Housing and Workspace Task Force, but that’s yet to be staffed.\u003c/p>\n\u003cp>Anyka Barber, who founded \u003ca href=\"http://www.bettiono.com/\" target=\"_blank\" rel=\"noopener\">Betti Ono\u003c/a> gallery in downtown Oakland, said the city needs to do more.\u003c/p>\n\u003cp>“In order for it to continue to be a world-class city and build on the strengths that it has, especially around culture and arts, we really have to have the investment match the brand recognition,” she said.\u003c/p>\n\u003cp>Barber is a lead organizer of the \u003ca href=\"https://www.facebook.com/KeepOAKCreative\" target=\"_blank\" rel=\"noopener\">Oakland Creative Neighborhoods Coalition\u003c/a> — a newly formed group that’s calling for the re-establishment of Oakland’s Arts Commission, which had its funding and staff eliminated more than five years ago.\u003c/p>\n\u003cp>“There’s a lot of talk about the economic development side of arts experiences or cultural experiences, based on people visiting, what kinds of funds or revenues that brings back to the city,” Barber said. “Currently, it looks like maybe 1.3 percent of the total city budget is funding or investing in community development or cultural programs. That does not reflect equity.”\u003c/p>\n\u003cfigure id=\"attachment_10632276\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632276 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-800x450.jpg\" alt=\"The Rock Paper Scissors Collective's mission statement.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Rock Paper Scissors Collective’s mission statement. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The coalition’s demands were left out of the recently adopted 2016-17 city budget.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rock Paper Scissors, meanwhile, has until the end of the month to find a new space or close up shop and try to raise more money. The collective is seeking volunteers to \u003ca href=\"http://rpscollective.org/help-rock-paper-scissors-pack-and-move/\" target=\"_blank\" rel=\"noopener\">help pack up and move\u003c/a> to a yet-to-be-determined location.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This ragtag Oakland storefront at 23rd Street and Telegraph Avenue was at the geographic center of the original \u003ca href=\"http://oaklandartmurmur.org/\" target=\"_blank\" rel=\"noopener\">Art Murmur\u003c/a> in 2006. It’s an all-in-one art gallery, classroom, clothing shop and activist meeting space. The volunteer-run collective operating \u003ca href=\"http://rpscollective.org/\" target=\"_blank\" rel=\"noopener\">Rock Paper Scissors\u003c/a> exemplifies the city’s social justice-seeking, DIY art and activism scene.\u003c/p>\n\u003cp>But with Oakland rents soaring, they’ve been priced out of their space. August’s will be the last \u003ca href=\"http://www.oaklandfirstfridays.org/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a> street fair and Art Murmur gallery stroll for the collective — the last remaining organization of those that helped start the monthly festival almost a decade ago.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/218061535″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/218061535″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>On a recent East Bay summer evening, volunteers gathered inside the storefront to learn how to become pen pals with LGBTQ prisoners.\u003c/p>\n\u003cp>“It can get really complicated, because if someone’s legal name is John but they go by Jennifer, for instance, you have to put J or John on the outside of the envelope,” said Beja Alisheva, co-facilitator of \u003ca href=\"https://flyingoverwalls.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Flying Over Walls\u003c/a>, a queer/trans prisoner solidarity organization.\u003c/p>\n\u003cfigure id=\"attachment_10632273\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632273 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-800x513.jpg\" alt=\"Flying Over Walls volunteers gather at Rock Paper Scissors to write letters to LGBTQ prisoners.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-1440x924.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128.jpg 1646w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Flying Over Walls volunteers gather at Rock Paper Scissors to write letters to LGBTQ prisoners. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are lots of rules about how the envelopes sent into prisons can be decorated, so they won’t be confiscated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No glitter?” Louis Smith asked incredulously.\u003c/p>\n\u003cp>The letter-writing get-together was just one of dozens of gatherings held at Rock Paper Scissors every month, ranging from writing workshops to a sewing lab and jewelry-making for teens.\u003c/p>\n\u003cp>“When we first came to Rock Paper Scissors looking for a space, they said of course,” Alisheva said. “Obviously, we don’t have a lot of money. It’s not something that brings in a lot of revenue, but that didn’t matter to them.”\u003c/p>\n\u003cp>She added: “It was such a relief when we finally landed here, so now we’re not sure where we’re going to end up.”\u003c/p>\n\u003cp>That’s a sentiment shared with the quirky, creative space’s regulars.\u003c/p>\n\u003cp>“Gentrification is real,” said Alexandra Rigaud, an assistant with the collective’s youth program. “We are getting pushed out, and we did start First Friday … Now we are paying for it.”\u003c/p>\n\u003cp>It’s becoming a common story all over the Bay Area. The artists who, in recent times, made a neighborhood “hip” are being driven out, in part due to their own success.\u003c/p>\n\u003cp>“The neighborhood has changed a lot,” said Kristi Holohan, the collective’s youth, community and interim gallery director. “We are basically like sandwiched in between two bars, there are some really high-end galleries.”\u003c/p>\n\u003cfigure id=\"attachment_10632275\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632275 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-800x450.jpg\" alt=\"The Rock Paper Scissors storefront on 23rd Street and Telegraph Avenue.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Rock Paper Scissors storefront on 23rd Street and Telegraph Avenue. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland Mayor Libby Schaaf said the plight of Rock Paper Scissors raises a much bigger question as the city continues to boom.\u003c/p>\n\u003cp>“It’s not just the housing affordability that is a potential crisis for us,” she said. “The threat of displacement of our small businesses, of our cultural institutions, of our nonprofits — those are also community stabilization issues that absolutely need to be solved.”\u003c/p>\n\u003cp>Schaaf said the city’s “solutions are more limited” because \u003ca href=\"http://www.leginfo.ca.gov/cgi-bin/displaycode?section=civ&group=01001-02000&file=1954.25-1954.31\" target=\"_blank\" rel=\"noopener\">state law prevents\u003c/a> rent stabilization for commercial space. The mayor said she’s creating a new Artist Affordable Housing and Workspace Task Force, but that’s yet to be staffed.\u003c/p>\n\u003cp>Anyka Barber, who founded \u003ca href=\"http://www.bettiono.com/\" target=\"_blank\" rel=\"noopener\">Betti Ono\u003c/a> gallery in downtown Oakland, said the city needs to do more.\u003c/p>\n\u003cp>“In order for it to continue to be a world-class city and build on the strengths that it has, especially around culture and arts, we really have to have the investment match the brand recognition,” she said.\u003c/p>\n\u003cp>Barber is a lead organizer of the \u003ca href=\"https://www.facebook.com/KeepOAKCreative\" target=\"_blank\" rel=\"noopener\">Oakland Creative Neighborhoods Coalition\u003c/a> — a newly formed group that’s calling for the re-establishment of Oakland’s Arts Commission, which had its funding and staff eliminated more than five years ago.\u003c/p>\n\u003cp>“There’s a lot of talk about the economic development side of arts experiences or cultural experiences, based on people visiting, what kinds of funds or revenues that brings back to the city,” Barber said. “Currently, it looks like maybe 1.3 percent of the total city budget is funding or investing in community development or cultural programs. That does not reflect equity.”\u003c/p>\n\u003cfigure id=\"attachment_10632276\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632276 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-800x450.jpg\" alt=\"The Rock Paper Scissors Collective's mission statement.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Rock Paper Scissors Collective’s mission statement. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The coalition’s demands were left out of the recently adopted 2016-17 city budget.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rock Paper Scissors, meanwhile, has until the end of the month to find a new space or close up shop and try to raise more money. The collective is seeking volunteers to \u003ca href=\"http://rpscollective.org/help-rock-paper-scissors-pack-and-move/\" target=\"_blank\" rel=\"noopener\">help pack up and move\u003c/a> to a yet-to-be-determined location.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Opera Receives First Performances Outside Europe in 300 Years",
"headTitle": "Opera Receives First Performances Outside Europe in 300 Years | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘American Bach Soloists Summer Festival’\u003c/h2>\n\u003cdiv class=\"event-desc\">This year’s summer festival from one of the region’s foremost Baroque music organizations includes the first performances outside of Europe of the 1709 opera ‘Semele’ by Marin Marais.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 16\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Caroline H Hume Concert Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>This summer, Bay Area audiences will get the chance to witness an opera that hasn’t been seen outside of Europe since the 18th century. Marin Marais’ \u003cem>Sémélé\u003c/em> — based on Ovid’s myth about the origins of Bacchus, the Roman god of wine — includes scenes of drunkenness, love, infidelity, jealousy, and fiery immolation.\u003c/p>\n\u003cp>The 1709 opera is part of the sixth American Bach Soloists (ABS) Festival and Academy — an annual event dedicated to historically informed performances of Baroque music. \u003cspan class=\"default10pxExtraLineSpace\">Conductor and ABS co-founder \u003c/span>Jeffrey Thomas leads concerts focused on Bach’s French contemporaries at the court of Versailles and answers some questions about the programming this year.\u003c/p>\n\u003cfigure id=\"attachment_10843875\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10843875\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-800x451.jpg\" alt=\"American Bach Soloists Festival Orchestra.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-1400x789.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">American Bach Soloists Festival Orchestra. \u003ccite>(Photo courtesy of Gene Kosoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why did American Bach Soloists decide to feature Marin Marais’ \u003ci>Sémélé\u003c/i> in the festival this year?\u003c/strong>\u003c/p>\n\u003cp>Each festival season, we have had a focus of some sort on a type of music or a particular national style. Whereas we have performed music from the French Baroque before, both during regular ABS seasons and at the Festival (Rameau’s \u003cem>Pigmalion\u003c/em> in July 2012 and works by Charpentier and Couperin during regular seasons), we hadn’t yet chosen that theme as a subject. The music and the culture of the period is, of course, extravagant as one would expect considering the opulent and rich tastes of Louis XIV and XV, so it seemed like a wonderful idea. Additionally, for the benefit of our Academy participants, studies of performance practice of the French Baroque are essential. A large part of the Baroque repertoire stems from this background, and it is quite different in many aspects from the music of all other national schools at the time.\u003c/p>\n\u003cp>\u003cstrong>Why has it taken so long for \u003ci>Sémélé\u003c/i> to be performed outside of Europe?\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The revival of interest in \u003cem>Sémélé\u003c/em>, like the revival of interest in its composer, is a relatively recent phenomenon. Since the first modern performances in France in the mid-2000s, the complete opera is only now leaving the continent. Its dances have been performed in the United States and recorded by a Canadian baroque ensemble (Montreal Baroque Orchestra), but the ABS Festival presents the first opportunity to experience this gorgeous opera live without going to France. Other organizations and conductors have performed and recorded lots of Lully and Rameau, the two major figures in French Baroque opera, and Marais – smack in the middle – is a bridge. Transitional figures are always interesting and Marais provides an example of what the \u003cem>tragedie en musique\u003c/em> [musical tragedy] was like after Lully’s death and before the innovations of Rameau.\u003c/p>\n\u003cfigure id=\"attachment_10870846\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Marais.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10870846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Marais.jpg\" alt=\"Marin Marais\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Marais.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Marais-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marin Marais painted by André Bouys in 1704. \u003ccite>(Courtesy of American Bach Soloists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Marin Marais was a master viol player and an accomplished composer for that instrument. How did he come to briefly direct the Paris Opera and present his own operas?\u003c/strong>\u003c/p>\n\u003cp>The stronghold that Jean-Baptiste Lully held on the Paris Opera for many years was so significant that it took a series of composers – who had already been a part of organization – to fill in for a good number of years following Lully’s death. Marais was one of those.\u003c/p>\n\u003cp>\u003cstrong>This opera, which has a prologue and five acts, is based on a mere 62 lines in Ovid’s Metamorphoses (Book III:253-315). How long is the opera?\u003c/strong>\u003c/p>\n\u003cp>There is about 2 hours and 20 minutes of music. The Prologue is substantial — about 30 minutes. In performance, the first half (Prologue—Act I—Act II) will be about 1:20, and the second half (Act III—Act IV—Act V) will be about one hour.\u003c/p>\n\u003cp>\u003cstrong>There are two other Baroque operas based on the Semele myth, John Eccles’ 1707 work and Handel’s piece from 1742. What makes the story so compelling?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I think that is about the power that some hold over others, but that seems to be an omnipresent theme in mythology in general. I don’t think that there is anything terribly unique about this particular story in terms of its relevance or content, but it is one that has been told in a number of ways. There are the more polite versions (as we find in the Marais setting) that present the events as a matter of love and attractions, and there are less polite versions that tell us of the harshness of tyrannical dominance.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘American Bach Soloists Summer Festival’\u003c/h2>\n\u003cdiv class=\"event-desc\">This year’s summer festival from one of the region’s foremost Baroque music organizations includes the first performances outside of Europe of the 1709 opera ‘Semele’ by Marin Marais.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Through Aug. 16\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Caroline H Hume Concert Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>This summer, Bay Area audiences will get the chance to witness an opera that hasn’t been seen outside of Europe since the 18th century. Marin Marais’ \u003cem>Sémélé\u003c/em> — based on Ovid’s myth about the origins of Bacchus, the Roman god of wine — includes scenes of drunkenness, love, infidelity, jealousy, and fiery immolation.\u003c/p>\n\u003cp>The 1709 opera is part of the sixth American Bach Soloists (ABS) Festival and Academy — an annual event dedicated to historically informed performances of Baroque music. \u003cspan class=\"default10pxExtraLineSpace\">Conductor and ABS co-founder \u003c/span>Jeffrey Thomas leads concerts focused on Bach’s French contemporaries at the court of Versailles and answers some questions about the programming this year.\u003c/p>\n\u003cfigure id=\"attachment_10843875\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10843875\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-800x451.jpg\" alt=\"American Bach Soloists Festival Orchestra.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-1400x789.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ABS-7-15-12-031-e1437174402261-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">American Bach Soloists Festival Orchestra. \u003ccite>(Photo courtesy of Gene Kosoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why did American Bach Soloists decide to feature Marin Marais’ \u003ci>Sémélé\u003c/i> in the festival this year?\u003c/strong>\u003c/p>\n\u003cp>Each festival season, we have had a focus of some sort on a type of music or a particular national style. Whereas we have performed music from the French Baroque before, both during regular ABS seasons and at the Festival (Rameau’s \u003cem>Pigmalion\u003c/em> in July 2012 and works by Charpentier and Couperin during regular seasons), we hadn’t yet chosen that theme as a subject. The music and the culture of the period is, of course, extravagant as one would expect considering the opulent and rich tastes of Louis XIV and XV, so it seemed like a wonderful idea. Additionally, for the benefit of our Academy participants, studies of performance practice of the French Baroque are essential. A large part of the Baroque repertoire stems from this background, and it is quite different in many aspects from the music of all other national schools at the time.\u003c/p>\n\u003cp>\u003cstrong>Why has it taken so long for \u003ci>Sémélé\u003c/i> to be performed outside of Europe?\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The revival of interest in \u003cem>Sémélé\u003c/em>, like the revival of interest in its composer, is a relatively recent phenomenon. Since the first modern performances in France in the mid-2000s, the complete opera is only now leaving the continent. Its dances have been performed in the United States and recorded by a Canadian baroque ensemble (Montreal Baroque Orchestra), but the ABS Festival presents the first opportunity to experience this gorgeous opera live without going to France. Other organizations and conductors have performed and recorded lots of Lully and Rameau, the two major figures in French Baroque opera, and Marais – smack in the middle – is a bridge. Transitional figures are always interesting and Marais provides an example of what the \u003cem>tragedie en musique\u003c/em> [musical tragedy] was like after Lully’s death and before the innovations of Rameau.\u003c/p>\n\u003cfigure id=\"attachment_10870846\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Marais.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10870846\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Marais.jpg\" alt=\"Marin Marais\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Marais.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Marais-400x300.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marin Marais painted by André Bouys in 1704. \u003ccite>(Courtesy of American Bach Soloists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Marin Marais was a master viol player and an accomplished composer for that instrument. How did he come to briefly direct the Paris Opera and present his own operas?\u003c/strong>\u003c/p>\n\u003cp>The stronghold that Jean-Baptiste Lully held on the Paris Opera for many years was so significant that it took a series of composers – who had already been a part of organization – to fill in for a good number of years following Lully’s death. Marais was one of those.\u003c/p>\n\u003cp>\u003cstrong>This opera, which has a prologue and five acts, is based on a mere 62 lines in Ovid’s Metamorphoses (Book III:253-315). How long is the opera?\u003c/strong>\u003c/p>\n\u003cp>There is about 2 hours and 20 minutes of music. The Prologue is substantial — about 30 minutes. In performance, the first half (Prologue—Act I—Act II) will be about 1:20, and the second half (Act III—Act IV—Act V) will be about one hour.\u003c/p>\n\u003cp>\u003cstrong>There are two other Baroque operas based on the Semele myth, John Eccles’ 1707 work and Handel’s piece from 1742. What makes the story so compelling?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I think that is about the power that some hold over others, but that seems to be an omnipresent theme in mythology in general. I don’t think that there is anything terribly unique about this particular story in terms of its relevance or content, but it is one that has been told in a number of ways. There are the more polite versions (as we find in the Marais setting) that present the events as a matter of love and attractions, and there are less polite versions that tell us of the harshness of tyrannical dominance.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Counterpulse Previews its Future Home in the Tenderloin",
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"content": "\u003cp>It’s not the sort of dancing the folks at \u003ca href=\"http://counterpulse.org/\" target=\"_blank\" rel=\"noopener\">Counterpulse \u003c/a>normally program. But it’s a start.\u003c/p>\n\u003cp>Reporters soft-shoed around debris piles and skipped between the raw steel framing as artistic director Julie Phelps gave a hard hat tour of Counterpulse’s new home at 80 Turk Street in San Francisco’s Tenderloin neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_10878414\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2526.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2526-1180x885.jpg\" alt=\"A future apartment for visiting artists at Counterpulse's new space\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A future apartment for visiting artists at Counterpulse’s new space \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dance presenter is planning to open its fall season there in October — the gods of construction permitting.\u003c/p>\n\u003cp>The building dates back to 1922, and most recently housed a porn theater named the Dollhouse.\u003c/p>\n\u003cp>Phelps said the two-story building with full basement would be an upgrade on Counterpulse’s old home on Mission Street. “Our offices won’t be in what should be the lobby,” Phelps said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s not to mention the three rehearsal studios, state-of-the-art performance space with a 30 by 30 foot stage, new audio system donated by Meyer Sound of Berkeley, and sprung hardwood floor. The building also includes an apartment on the second floor that will house visiting artists working at Counterpulse and neighboring organizations like the Yerba Buena Center for the Arts.\u003c/p>\n\u003cfigure id=\"attachment_10878411\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2523.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878411\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2523-1180x885.jpg\" alt=\"Silhouettes of exotic dancers, artifacts of 80 Turk Street's former life as a porn theater\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Silhouettes of exotic dancers, artifacts of 80 Turk Street’s former life as a porn theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new theater will feature 115 seats — 20 more than in Counterpulse’s old home. The number, Phelps said, is perfect for the kind of experimental work the company likes to present.\u003c/p>\n\u003cp>“We aren’t on the road to a 300 seat house,” Phelps said. “The intimacy and scale of our venue is key.”\u003c/p>\n\u003cp>The real news though, is that Counterpulse will own its new home here, despite San Francisco’s toxic real estate market. That’s the result of an intervention of sorts by the \u003ca href=\"http://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund,\u003c/a> the\u003ca href=\"http://cast-sf.org/\" target=\"_blank\" rel=\"noopener\"> Community Arts Stabilization Trust (CAST)\u003c/a>, and the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a>.\u003c/p>\n\u003cp>CAST, an offshoot of the \u003ca href=\"http://krfoundation.org/\" target=\"_blank\" rel=\"noopener\">Kenneth Rainin Foundation\u003c/a>, negotiated and underwrote the purchase of 80 Turk on Counterpulse’s behalf. CAST Executive Director Moy Eng said the purchase is part of a project to find long term solutions to the loss of non-profit arts organizations in San Francisco. “Not just a finger in the dike,” Eng said during the tour. “To create permanent space so arts and culture remains and endures.”\u003c/p>\n\u003cfigure id=\"attachment_10878412\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2525.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2525-1180x885.jpg\" alt=\"CAST Executive Director Moy Eng, with Counterpulse's Executive Director Tomas Riley, and Artistic Director Julie Phelps\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">CAST Executive Director Moy Eng, with Counterpulse’s Executive Director Tomas Riley, and Artistic Director Julie Phelps \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CAST is providing a similar service for mid-market’s \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">Luggage Store Gallery\u003c/a>, another non-profit arts presenter.\u003c/p>\n\u003cp>The purchase is not a gift. “It’s a fancy lease to own agreement,” Phelps said. Counterpulse has five years to pay off the $6 million loan, with no interest, and it’s already raised nearly half of that loan with help from Market Street neighbors Twitter and Zendesk.\u003c/p>\n\u003cp>One unusual aspect of the loan is that once Counterpulse pays it off, CAST will redistribute the money to another non-profit arts group in need of help finding a home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not the sort of dancing the folks at \u003ca href=\"http://counterpulse.org/\" target=\"_blank\" rel=\"noopener\">Counterpulse \u003c/a>normally program. But it’s a start.\u003c/p>\n\u003cp>Reporters soft-shoed around debris piles and skipped between the raw steel framing as artistic director Julie Phelps gave a hard hat tour of Counterpulse’s new home at 80 Turk Street in San Francisco’s Tenderloin neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_10878414\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2526.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2526-1180x885.jpg\" alt=\"A future apartment for visiting artists at Counterpulse's new space\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2526-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A future apartment for visiting artists at Counterpulse’s new space \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dance presenter is planning to open its fall season there in October — the gods of construction permitting.\u003c/p>\n\u003cp>The building dates back to 1922, and most recently housed a porn theater named the Dollhouse.\u003c/p>\n\u003cp>Phelps said the two-story building with full basement would be an upgrade on Counterpulse’s old home on Mission Street. “Our offices won’t be in what should be the lobby,” Phelps said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s not to mention the three rehearsal studios, state-of-the-art performance space with a 30 by 30 foot stage, new audio system donated by Meyer Sound of Berkeley, and sprung hardwood floor. The building also includes an apartment on the second floor that will house visiting artists working at Counterpulse and neighboring organizations like the Yerba Buena Center for the Arts.\u003c/p>\n\u003cfigure id=\"attachment_10878411\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2523.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878411\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2523-1180x885.jpg\" alt=\"Silhouettes of exotic dancers, artifacts of 80 Turk Street's former life as a porn theater\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2523-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Silhouettes of exotic dancers, artifacts of 80 Turk Street’s former life as a porn theater \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The new theater will feature 115 seats — 20 more than in Counterpulse’s old home. The number, Phelps said, is perfect for the kind of experimental work the company likes to present.\u003c/p>\n\u003cp>“We aren’t on the road to a 300 seat house,” Phelps said. “The intimacy and scale of our venue is key.”\u003c/p>\n\u003cp>The real news though, is that Counterpulse will own its new home here, despite San Francisco’s toxic real estate market. That’s the result of an intervention of sorts by the \u003ca href=\"http://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund,\u003c/a> the\u003ca href=\"http://cast-sf.org/\" target=\"_blank\" rel=\"noopener\"> Community Arts Stabilization Trust (CAST)\u003c/a>, and the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a>.\u003c/p>\n\u003cp>CAST, an offshoot of the \u003ca href=\"http://krfoundation.org/\" target=\"_blank\" rel=\"noopener\">Kenneth Rainin Foundation\u003c/a>, negotiated and underwrote the purchase of 80 Turk on Counterpulse’s behalf. CAST Executive Director Moy Eng said the purchase is part of a project to find long term solutions to the loss of non-profit arts organizations in San Francisco. “Not just a finger in the dike,” Eng said during the tour. “To create permanent space so arts and culture remains and endures.”\u003c/p>\n\u003cfigure id=\"attachment_10878412\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2525.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10878412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_2525-1180x885.jpg\" alt=\"CAST Executive Director Moy Eng, with Counterpulse's Executive Director Tomas Riley, and Artistic Director Julie Phelps\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/IMG_2525-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">CAST Executive Director Moy Eng, with Counterpulse’s Executive Director Tomas Riley, and Artistic Director Julie Phelps \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CAST is providing a similar service for mid-market’s \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">Luggage Store Gallery\u003c/a>, another non-profit arts presenter.\u003c/p>\n\u003cp>The purchase is not a gift. “It’s a fancy lease to own agreement,” Phelps said. Counterpulse has five years to pay off the $6 million loan, with no interest, and it’s already raised nearly half of that loan with help from Market Street neighbors Twitter and Zendesk.\u003c/p>\n\u003cp>One unusual aspect of the loan is that once Counterpulse pays it off, CAST will redistribute the money to another non-profit arts group in need of help finding a home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Outside Lands\u003c/h2>\n\u003cdiv class=\"event-desc\">The gigantic three-day music festival returns.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7–9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Golden Gate Park\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Details and information\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Getting into Outside Lands is no big trick — after all, tickets are still up for the taking on the secondhand market. But once inside, how might a gentle music lover avoid missing out on the best of the fest and duck that pesky case of \u003ca href=\"https://en.wikipedia.org/wiki/Fear_of_missing_out\" target=\"_blank\" rel=\"noopener\">FoMO\u003c/a>? Don’t get lost in a fog of indecision, stumble on the sprawling schedule with its five competing stages, and fall into a gopher hole of coulda, shoulda, woulda.\u003c/p>\n\u003cp>Instead, save yourself the hassle of wandering listlessly from stage to stage like a dissatisfied, bleary, beer-logged buffalo. Enjoy the fact that you will bear witness to some amazing must-see performers in the most beauteous, green \u003cem>and\u003c/em> urban setting around. And absorb these solutions to some of the roughest schedule conflicts at Outside Lands.\u003c/p>\n\u003ch2>Friday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878223\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg\" alt=\"OLLeonBridges\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Lake Street Dive vs. Leon Bridges vs. Robert DeLong\u003c/strong>\u003cbr>\nWhich of these three things don’t belong? DeLong pops out here, with melodic, thumping synth washes and epic electronic beats. Consider him a kind of hook-laden Skrillex with a similar indie rock background and taste for high-wire drops. So the real tossup is between the snappy, pitch-perfect ’60s-style R&B of the buzzy Fort Worth, Texas, singer-songwriter Leon Bridges and the powerhouse soul vocals of Rachael Price and her minimal indie band, Lake Street Dive, known for its cover of the Jackson 5’s “I Want You Back.” This one goes to Bridges, a multitalented choreographer and dancer who decimated South by Southwest audiences and even took home a prize this year for his thoroughly throwback Sam Cooke-like vision.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg\" alt=\"OLStVincent\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>St. Vincent vs. Alvvays vs. Glass Animals \u003c/strong>\u003cbr>\nSorry, but is there a real conflict here between St. Vincent and Alvvays? Even if the breed of experimental/arty indie pop purveyed by the Grammy-winning St. Vincent, a.k.a. Annie Clark, chafes your hide in the same way, say, David Byrne’s does, you know that live, she’ll alvvays, I mean, \u003cem>always\u003c/em> provide plenty of musical intrigue, guitar heroics, and forthright food for thought (also is she or isn’t she still dating supermodel/actress Cara Delevingne?). That’s in contrast to the simple and guileless joys of the Toronto combo Alvvays’ dulcet lo-fi. Perhaps more formidable competition for St. Vincent’s Clark is Oxford, England, ensemble Glass Animals, which come off like a blended family of airy R&B, knob-twirling indie, and echo-happy dubstep. So let’s agree that St. Vincent reigns, then rush over to Glass Animals to see if they’re breakout or just plain breakable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878225\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg\" alt=\"OLDangelo\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>D’Angelo vs. Mumford and Sons vs. Iration vs. Amon Tobin\u003c/strong>\u003cbr>\nThis is a little like comparing apples and oranges — and a tres leches cupcake and a fried cricket taco. Meaning, I can’t even. Just don’t hurt yourself fretting about whether you \u003cem>must\u003c/em> check out the popular, pleasant, and very earnest folk-rock gents of Mumford and Sons, catch the Jawaiian-by-way-of-Santa Barbara reggae-rockers of Iration, or swing by R&B’s comeback kid D’Angelo. D’Angelo is the clear winner. After finding success at the turn of the century as the bare-chested beefcake of “Untitled (How Does It Feel)” off \u003cem>Voodoo\u003c/em> and dealing with substance abuse, death, car crackups, rehab, and fat-shaming, the singer-songwriter returned late last year with the inspired, universally acclaimed and Pazz & Jop poll-topping \u003cem>Black Messiah\u003c/em>. Praise be. Follow his set up with the evening’s only other real competitor, Brazil native and Marin County forest dweller Amon Tobin, who gives his dazzling \u003cem>ISAM\u003c/em> 2.0 production a final spin before he moves on.\u003c/p>\n\u003ch2>Saturday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878216\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg\" alt=\"OLToroyMoi\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Toro Y Moi vs. Billy Idol\u003c/strong>\u003cbr>\nWho can resist a nice warm bowl of “Rebel Yell”? The ’80s MTV darling is still flying that punk rock attitude, playing with glory days guitarist Steve Stevens, and praising the \u003cem>Kings & Queens of the Underground\u003c/em> with his most recent 2014 LP. Yet Toro y Moi talent Chaz Bundick makes it easy to get distracted. Some may see the Berkeley bedroom musicmaker, artist, and graphic designer as simply the cornerstone of the so-called chillwave movement. But judging from his Les Sins dance music side gig, never-ending art projects, and his own imprint on Carpark Records, there’s just no putting Bundick in a corner. These days he seems intent on swirling his toe into a sparkling stream of poppy and funky prog rock — witness the new Toro y Moi album, \u003cem>What For?\u003c/em> Afterward, check either Bundick’s pal and DJ-round-town Giraffage or chill further with Deutschland roots-tronica outfit Milky Chance of “Stolen Dance” fame.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878229\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg\" alt=\"OLTameImpala1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Tame Impala vs. G-Eazy\u003c/strong>\u003cbr>\nSo easy. The East Bay-bred, best-dressed hip-hop heartthrob G-Eazy has a penchant for whipping off his well-considered shirts and nibbling at them, like it’s the only way to stem the tide of rhymes. That’s when he’s not rolling with E-40 at Warriors games and being industrious about his next LP, said to be due out later this year. A festival circuiteer like many others on this year’s Outside Lands bill, he’s also a rarity around the Bay these days. But I don’t think that can tempt me from the raw musical ambition of Tame Impala and the Australian psychedelic unit’s lush krautrocky sonic stylings. The group’s third album, \u003cem>Currents\u003c/em>, offers up classic, custard-rich headphone music for an earbud age, skewing delightfully funky at one moment, deliciously Giorgio Moroder at others. Sorry, G — gotta get wild with Tame Impala.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878218\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg\" alt=\"OLKendrick1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Kendrick Lamar vs. the Black Keys\u003c/strong>\u003cbr>\nAkron vs. Compton? Who doesn’t dig the big blast of blues rock that the Black Keys generate on stage? Honestly, though, what have Dan Auerbach and Patrick Carney done for us lately, in terms of moving us past that sound? Last year’s considerably low-key, retro-spooky \u003cem>Turn Blue\u003c/em> didn’t have the same impact. Let’s just say Kendrick Lamar still gets us hot, right here, right now. He’s our \u003cem>Good Kid, M.A.A.D City\u003c/em>, our artful, naturalistic hip-hop diarist skilled at singing the song of himself, conveying the beat of his reality. And that reality keeps expanding. The jazz, and musings, got deeper and grew increasingly urgent with this year’s multilayered next step, \u003cem>To Pimp a Butterfly\u003c/em>. So expect the trees to tremble and the gophers to freak when the flower-crown-, hoodie-, and bootie-bedecked hordes rush Lamar’s Twin Peaks stage.\u003c/p>\n\u003ch2>Sunday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLMetz.jpg\" alt=\"OLMetz\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Metz vs. Allal Las vs. St Paul and the Broken Bones\u003c/strong>\u003cbr>\nPicture this: you’ve just caught SZA, the lady who’s picking up and spinning the ethereal soul thread that FKA Twigs left behind. Where to next? You’re caught between the toned-down psychedelicists of Allah-Las, the old-school soul believers of St. Paul and the Broken Bones, and the loud rockers of Metz. Advice? Mix it up, harsh the overall mellow, and turn up the volume with Metz. The righteously abrasive noise-rock threesome invoke nothing less than classic Jesus Lizard, Shellac, and even NorCal’s late lamented Mayyors, with a cacophonous dollop of Birthday Party thrown in for chaotic measure. “Things fall apart” appears to be the overriding message of careening tunes like “Landfill” off the trio’s latest LP, \u003cem>II\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878221\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg\" alt=\"OLHotChip\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Hot Chip vs. Sky Ferreira vs. Ryn Weaver\u003c/strong>\u003cbr>\nWhat a toss-up. At this point, as the fest begins to wind to a foggy close, the strategizing cog in your noggin starts to shut down. The urge is to go with the flow. Your sweet and sinister Aunt Flo would definitely espouse quirk-folk femtronica songstress Ryn Weaver, an Argentina-born seductress with a taste for high-necked Victorian-style collars, intriguing percussive effects, and pop hooks (see “Octahate”). Flo’s aspiring club-kid offspring Waterfall would undoubtedly pick Sky Ferreira, who’s coming at that pop diva crown from a whole other synthpop angle: Ferreira’s bewitched by drum machines and ’80s soul revivalists and charmingly overshares on social media. But guess what, Hot Chip gets the dip this time around — and not just for the cut of vocalist-guitarist-multi-instrumentalist Alexis Taylor’s mega metallic pantaloons. The English band is bringing sexy, ecstatic acid house back, seasoned with a bracing sprinkle of pulsing krautrock, with its new recording, \u003cem>Why Make Sense?\u003c/em> The worry-free dance party starts here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg\" alt=\"OLEltonJohn\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Elton John vs. Axwell & Ingrosso\u003c/strong>\u003cbr>\nThe temptation is to take your sopping-with-sweat Hot Chipped self straight to Swedish House Mafia spinoff Axwell & Ingrosso (really, this was essentially a way to ice out former Swedish House Mafia cohort Steve Angello, no?). Wedding anthemic hooks to larger-than-life flows readymade for the rave grounds, Axwell & Ingrosso could be an ideal way to bounce out of this year’s Outside Lands. But hold your horses, tiny dancer: Sir Elton John is nothing to scoff at. The 68-year-old pop icon can take as much of his sweet time as he wants between albums — witness 2006’s \u003cem>The Captain & the Kid\u003c/em> and 2013’s \u003cem>The Diving Board\u003c/em> — because he has written just so many remarkable songs. If you’re in luck, you’ll hear some of the biggest hits among them: “Bennie and the Jets,” “Daniel,” “Philadelphia Freedom,” “Rocket Man,” “Sad Songs (Say So Much),” “Crocodile Rock,” “Sorry Seems to be the Hardest Word”… and that’s not even touching more recent \u003cem>Lion King\u003c/em> history. Like a candle in the wind, we flicker toward his light.\u003c/p>\n\n",
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"excerpt": "At Outside Lands, numerous which-band-to-see choices abound; thankfully, our ref calls the matchups for you on all five stages.",
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"description": "At Outside Lands, numerous which-band-to-see choices abound; thankfully, our ref calls the matchups for you on all five stages.",
"title": "Which Band Would Win in a Fight? An Outside Lands Conflict Primer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Outside Lands\u003c/h2>\n\u003cdiv class=\"event-desc\">The gigantic three-day music festival returns.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7–9\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Golden Gate Park\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Details and information\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Getting into Outside Lands is no big trick — after all, tickets are still up for the taking on the secondhand market. But once inside, how might a gentle music lover avoid missing out on the best of the fest and duck that pesky case of \u003ca href=\"https://en.wikipedia.org/wiki/Fear_of_missing_out\" target=\"_blank\" rel=\"noopener\">FoMO\u003c/a>? Don’t get lost in a fog of indecision, stumble on the sprawling schedule with its five competing stages, and fall into a gopher hole of coulda, shoulda, woulda.\u003c/p>\n\u003cp>Instead, save yourself the hassle of wandering listlessly from stage to stage like a dissatisfied, bleary, beer-logged buffalo. Enjoy the fact that you will bear witness to some amazing must-see performers in the most beauteous, green \u003cem>and\u003c/em> urban setting around. And absorb these solutions to some of the roughest schedule conflicts at Outside Lands.\u003c/p>\n\u003ch2>Friday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878223\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg\" alt=\"OLLeonBridges\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLLeonBridges-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Lake Street Dive vs. Leon Bridges vs. Robert DeLong\u003c/strong>\u003cbr>\nWhich of these three things don’t belong? DeLong pops out here, with melodic, thumping synth washes and epic electronic beats. Consider him a kind of hook-laden Skrillex with a similar indie rock background and taste for high-wire drops. So the real tossup is between the snappy, pitch-perfect ’60s-style R&B of the buzzy Fort Worth, Texas, singer-songwriter Leon Bridges and the powerhouse soul vocals of Rachael Price and her minimal indie band, Lake Street Dive, known for its cover of the Jackson 5’s “I Want You Back.” This one goes to Bridges, a multitalented choreographer and dancer who decimated South by Southwest audiences and even took home a prize this year for his thoroughly throwback Sam Cooke-like vision.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878224\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg\" alt=\"OLStVincent\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLStVincent-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>St. Vincent vs. Alvvays vs. Glass Animals \u003c/strong>\u003cbr>\nSorry, but is there a real conflict here between St. Vincent and Alvvays? Even if the breed of experimental/arty indie pop purveyed by the Grammy-winning St. Vincent, a.k.a. Annie Clark, chafes your hide in the same way, say, David Byrne’s does, you know that live, she’ll alvvays, I mean, \u003cem>always\u003c/em> provide plenty of musical intrigue, guitar heroics, and forthright food for thought (also is she or isn’t she still dating supermodel/actress Cara Delevingne?). That’s in contrast to the simple and guileless joys of the Toronto combo Alvvays’ dulcet lo-fi. Perhaps more formidable competition for St. Vincent’s Clark is Oxford, England, ensemble Glass Animals, which come off like a blended family of airy R&B, knob-twirling indie, and echo-happy dubstep. So let’s agree that St. Vincent reigns, then rush over to Glass Animals to see if they’re breakout or just plain breakable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878225\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg\" alt=\"OLDangelo\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLDangelo-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>D’Angelo vs. Mumford and Sons vs. Iration vs. Amon Tobin\u003c/strong>\u003cbr>\nThis is a little like comparing apples and oranges — and a tres leches cupcake and a fried cricket taco. Meaning, I can’t even. Just don’t hurt yourself fretting about whether you \u003cem>must\u003c/em> check out the popular, pleasant, and very earnest folk-rock gents of Mumford and Sons, catch the Jawaiian-by-way-of-Santa Barbara reggae-rockers of Iration, or swing by R&B’s comeback kid D’Angelo. D’Angelo is the clear winner. After finding success at the turn of the century as the bare-chested beefcake of “Untitled (How Does It Feel)” off \u003cem>Voodoo\u003c/em> and dealing with substance abuse, death, car crackups, rehab, and fat-shaming, the singer-songwriter returned late last year with the inspired, universally acclaimed and Pazz & Jop poll-topping \u003cem>Black Messiah\u003c/em>. Praise be. Follow his set up with the evening’s only other real competitor, Brazil native and Marin County forest dweller Amon Tobin, who gives his dazzling \u003cem>ISAM\u003c/em> 2.0 production a final spin before he moves on.\u003c/p>\n\u003ch2>Saturday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878216\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg\" alt=\"OLToroyMoi\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLToroyMoi-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Toro Y Moi vs. Billy Idol\u003c/strong>\u003cbr>\nWho can resist a nice warm bowl of “Rebel Yell”? The ’80s MTV darling is still flying that punk rock attitude, playing with glory days guitarist Steve Stevens, and praising the \u003cem>Kings & Queens of the Underground\u003c/em> with his most recent 2014 LP. Yet Toro y Moi talent Chaz Bundick makes it easy to get distracted. Some may see the Berkeley bedroom musicmaker, artist, and graphic designer as simply the cornerstone of the so-called chillwave movement. But judging from his Les Sins dance music side gig, never-ending art projects, and his own imprint on Carpark Records, there’s just no putting Bundick in a corner. These days he seems intent on swirling his toe into a sparkling stream of poppy and funky prog rock — witness the new Toro y Moi album, \u003cem>What For?\u003c/em> Afterward, check either Bundick’s pal and DJ-round-town Giraffage or chill further with Deutschland roots-tronica outfit Milky Chance of “Stolen Dance” fame.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878229\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg\" alt=\"OLTameImpala1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLTameImpala1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Tame Impala vs. G-Eazy\u003c/strong>\u003cbr>\nSo easy. The East Bay-bred, best-dressed hip-hop heartthrob G-Eazy has a penchant for whipping off his well-considered shirts and nibbling at them, like it’s the only way to stem the tide of rhymes. That’s when he’s not rolling with E-40 at Warriors games and being industrious about his next LP, said to be due out later this year. A festival circuiteer like many others on this year’s Outside Lands bill, he’s also a rarity around the Bay these days. But I don’t think that can tempt me from the raw musical ambition of Tame Impala and the Australian psychedelic unit’s lush krautrocky sonic stylings. The group’s third album, \u003cem>Currents\u003c/em>, offers up classic, custard-rich headphone music for an earbud age, skewing delightfully funky at one moment, deliciously Giorgio Moroder at others. Sorry, G — gotta get wild with Tame Impala.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878218\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg\" alt=\"OLKendrick1\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLKendrick1-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Kendrick Lamar vs. the Black Keys\u003c/strong>\u003cbr>\nAkron vs. Compton? Who doesn’t dig the big blast of blues rock that the Black Keys generate on stage? Honestly, though, what have Dan Auerbach and Patrick Carney done for us lately, in terms of moving us past that sound? Last year’s considerably low-key, retro-spooky \u003cem>Turn Blue\u003c/em> didn’t have the same impact. Let’s just say Kendrick Lamar still gets us hot, right here, right now. He’s our \u003cem>Good Kid, M.A.A.D City\u003c/em>, our artful, naturalistic hip-hop diarist skilled at singing the song of himself, conveying the beat of his reality. And that reality keeps expanding. The jazz, and musings, got deeper and grew increasingly urgent with this year’s multilayered next step, \u003cem>To Pimp a Butterfly\u003c/em>. So expect the trees to tremble and the gophers to freak when the flower-crown-, hoodie-, and bootie-bedecked hordes rush Lamar’s Twin Peaks stage.\u003c/p>\n\u003ch2>Sunday\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLMetz.jpg\" alt=\"OLMetz\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLMetz-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Metz vs. Allal Las vs. St Paul and the Broken Bones\u003c/strong>\u003cbr>\nPicture this: you’ve just caught SZA, the lady who’s picking up and spinning the ethereal soul thread that FKA Twigs left behind. Where to next? You’re caught between the toned-down psychedelicists of Allah-Las, the old-school soul believers of St. Paul and the Broken Bones, and the loud rockers of Metz. Advice? Mix it up, harsh the overall mellow, and turn up the volume with Metz. The righteously abrasive noise-rock threesome invoke nothing less than classic Jesus Lizard, Shellac, and even NorCal’s late lamented Mayyors, with a cacophonous dollop of Birthday Party thrown in for chaotic measure. “Things fall apart” appears to be the overriding message of careening tunes like “Landfill” off the trio’s latest LP, \u003cem>II\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878221\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg\" alt=\"OLHotChip\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLHotChip-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003cstrong>Hot Chip vs. Sky Ferreira vs. Ryn Weaver\u003c/strong>\u003cbr>\nWhat a toss-up. At this point, as the fest begins to wind to a foggy close, the strategizing cog in your noggin starts to shut down. The urge is to go with the flow. Your sweet and sinister Aunt Flo would definitely espouse quirk-folk femtronica songstress Ryn Weaver, an Argentina-born seductress with a taste for high-necked Victorian-style collars, intriguing percussive effects, and pop hooks (see “Octahate”). Flo’s aspiring club-kid offspring Waterfall would undoubtedly pick Sky Ferreira, who’s coming at that pop diva crown from a whole other synthpop angle: Ferreira’s bewitched by drum machines and ’80s soul revivalists and charmingly overshares on social media. But guess what, Hot Chip gets the dip this time around — and not just for the cut of vocalist-guitarist-multi-instrumentalist Alexis Taylor’s mega metallic pantaloons. The English band is bringing sexy, ecstatic acid house back, seasoned with a bracing sprinkle of pulsing krautrock, with its new recording, \u003cem>Why Make Sense?\u003c/em> The worry-free dance party starts here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10878222\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg\" alt=\"OLEltonJohn\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/OLEltonJohn-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Elton John vs. Axwell & Ingrosso\u003c/strong>\u003cbr>\nThe temptation is to take your sopping-with-sweat Hot Chipped self straight to Swedish House Mafia spinoff Axwell & Ingrosso (really, this was essentially a way to ice out former Swedish House Mafia cohort Steve Angello, no?). Wedding anthemic hooks to larger-than-life flows readymade for the rave grounds, Axwell & Ingrosso could be an ideal way to bounce out of this year’s Outside Lands. But hold your horses, tiny dancer: Sir Elton John is nothing to scoff at. The 68-year-old pop icon can take as much of his sweet time as he wants between albums — witness 2006’s \u003cem>The Captain & the Kid\u003c/em> and 2013’s \u003cem>The Diving Board\u003c/em> — because he has written just so many remarkable songs. If you’re in luck, you’ll hear some of the biggest hits among them: “Bennie and the Jets,” “Daniel,” “Philadelphia Freedom,” “Rocket Man,” “Sad Songs (Say So Much),” “Crocodile Rock,” “Sorry Seems to be the Hardest Word”… and that’s not even touching more recent \u003cem>Lion King\u003c/em> history. Like a candle in the wind, we flicker toward his light.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sometimes, all it takes is a good old impulse buy.\u003c/p>\n\u003cp>That seems to be the hope for Viracocha, the antique store-slash-community hub-slash-live music venue in the Mission District that recently \u003ca href=\"http://ww2.kqed.org/arts/2015/07/01/viracocha-mission-district-music-venue-to-close/\" target=\"_blank\" rel=\"noopener\">closed\u003c/a>.\u003c/p>\n\u003cp>According to a post on Viracocha’s Facebook page, a meeting will be held tonight (Monday, Aug. 3), to determine the future of the basement performance space. The post is vague but hopeful; it sounds like the building’s new tenants are willing to keep the basement space open for live music if a partner with funding comes forward.\u003c/p>\n\u003cp>Do you ever scroll Craigslist personals and wonder why the world’s lonleyhearts keep asking for each other online, never to meet up? This is like that. The city’s new tech residents want places for live music, and a \u003ca href=\"http://www.sfweekly.com/sanfrancisco/mission-venue-viracocha-wagers-its-survival-on-going-legit/Content?oid=2828463\" target=\"_blank\" rel=\"noopener\">beloved spot for live music\u003c/a> is asking for investors [cue \u003cem>Fiddler on the Roof\u003c/em>’s “Matchmaker” here].\u003c/p>\n\u003cp>Read the post in full below, then head to the meeting tonight.\u003c/p>\n\u003cblockquote>\u003cp>So as most of you know by now, we have closed Viracocha. Not temporarily, but completely, this time. We begin dismantling and demolition this weekend. However… There is still an opportunity to save the Basement Performance Level, and pass it along to the perspective new tenants. But…. we’ve only got TONIGHT! (Monday, August 3rd)\u003c/p>\n\u003cp>There is a group who wish to save the performance space, and keep it designated for public artistic programming, of all sorts, but the decision to move forward, or ‘call it quits’, needs an answer by the end of this evening.\u003c/p>\n\u003cp>There will be a community meeting at Viracocha, at 7:30 pm. The perspective tenant, will be on hand to describe their vision, and business plan, for what will, hopefully, inhabit 998 Valencia. They have some financial backing, but not enough to do it on their own.\u003c/p>\n\u003cp>If you, or anyone you know, might be interested in investing with them, in an effort to keep another SF art space in existence, this is the time. 7:30PM, Tonight.\u003c/p>\n\u003cp>Please share, and please join us in the discussion.\u003c/p>\n\u003cp>Also… If you’ve questioned why Viracocha is closing, or what prompts us to leave at this particular time..: answers will be provided. We have not spoken with any Reporters, despite the numerous articles that have come out speculating our decision. Remember, just cause words make it to print, doesn’t mean they are true.\u003c/p>\n\u003cp>If you want the full story… all will be explained this evening.\u003c/p>\u003c/blockquote>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, all it takes is a good old impulse buy.\u003c/p>\n\u003cp>That seems to be the hope for Viracocha, the antique store-slash-community hub-slash-live music venue in the Mission District that recently \u003ca href=\"http://ww2.kqed.org/arts/2015/07/01/viracocha-mission-district-music-venue-to-close/\" target=\"_blank\" rel=\"noopener\">closed\u003c/a>.\u003c/p>\n\u003cp>According to a post on Viracocha’s Facebook page, a meeting will be held tonight (Monday, Aug. 3), to determine the future of the basement performance space. The post is vague but hopeful; it sounds like the building’s new tenants are willing to keep the basement space open for live music if a partner with funding comes forward.\u003c/p>\n\u003cp>Do you ever scroll Craigslist personals and wonder why the world’s lonleyhearts keep asking for each other online, never to meet up? This is like that. The city’s new tech residents want places for live music, and a \u003ca href=\"http://www.sfweekly.com/sanfrancisco/mission-venue-viracocha-wagers-its-survival-on-going-legit/Content?oid=2828463\" target=\"_blank\" rel=\"noopener\">beloved spot for live music\u003c/a> is asking for investors [cue \u003cem>Fiddler on the Roof\u003c/em>’s “Matchmaker” here].\u003c/p>\n\u003cp>Read the post in full below, then head to the meeting tonight.\u003c/p>\n\u003cblockquote>\u003cp>So as most of you know by now, we have closed Viracocha. Not temporarily, but completely, this time. We begin dismantling and demolition this weekend. However… There is still an opportunity to save the Basement Performance Level, and pass it along to the perspective new tenants. But…. we’ve only got TONIGHT! (Monday, August 3rd)\u003c/p>\n\u003cp>There is a group who wish to save the performance space, and keep it designated for public artistic programming, of all sorts, but the decision to move forward, or ‘call it quits’, needs an answer by the end of this evening.\u003c/p>\n\u003cp>There will be a community meeting at Viracocha, at 7:30 pm. The perspective tenant, will be on hand to describe their vision, and business plan, for what will, hopefully, inhabit 998 Valencia. They have some financial backing, but not enough to do it on their own.\u003c/p>\n\u003cp>If you, or anyone you know, might be interested in investing with them, in an effort to keep another SF art space in existence, this is the time. 7:30PM, Tonight.\u003c/p>\n\u003cp>Please share, and please join us in the discussion.\u003c/p>\n\u003cp>Also… If you’ve questioned why Viracocha is closing, or what prompts us to leave at this particular time..: answers will be provided. We have not spoken with any Reporters, despite the numerous articles that have come out speculating our decision. Remember, just cause words make it to print, doesn’t mean they are true.\u003c/p>\n\u003cp>If you want the full story… all will be explained this evening.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "audio-postcard-dumpling-wars-takes-on-game-of-thrones-theme",
"title": "Audio Postcard: Dumpling Wars takes on 'Game of Thrones' Theme",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/217082214″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Hundreds of dumpling fans across the Bay Area descended on \u003cem>Dumpling Wars\u003c/em> in Oakland last Sunday. The third annual dumpling cook-off pitted old family recipes against unconventional new concoctions that blended eastern and western influences.\u003c/p>\n\u003cp>This year’s theme, “Game of Noms,” challenged competitors to riff on the a \u003cem>Game of Thrones\u003c/em> theme. “In addition to being foodies, a lot of us are nerds as well,” says T.J. Basa of Kearny Street Workshop, the competition organizer.\u003c/p>\n\u003cp>Listen to the Audio Postcard above.\u003c/p>\n\u003cfigure id=\"attachment_10865399\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44871.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10865399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44871-800x533.jpg\" alt=\"House of Porkister showed off some dragon eggs with their dumplings.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">House of Porkister showed off some dragon eggs with their dumplings. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10863798\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4483.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10863798 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4483-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">House Harbin Maxi folding fresh dumplings. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865407\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44771.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10865407 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44771-800x533.jpg\" alt=\"Soup dumplings\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Soup dumplings by the Boba Guys. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10863804\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4439.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10863804\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4439-800x533.jpg\" alt='\"Who knows better how to do it than our parents?\" says Sandra of Team Harbin Maxi.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Who knows better how to do it than our parents?” says Sandra of House Harbin Maxi. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865402\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44411.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10865402 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44411-800x533.jpg\" alt=\"IMG_4441\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Judge’s Choice – The Chive Pocket, filled with pork, shrimp, eggs and chives. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10863801\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4491.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10863801\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4491-800x533.jpg\" alt=\"Dumpling lovers of every age and size ate their fill of the meaty delicacies.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dumpling lovers of every age and size ate their fill of the meaty delicacies. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865388\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4499.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10865388 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4499-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Boba guys serving tea with their tea infused dumplings. (Photo: Jessica Placzek: KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865391\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4507.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10865391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4507-800x584.jpg\" alt=\"Saqib Keval, being honored with a Dumpling Award.\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-1180x861.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-1400x1022.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-960x701.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Saqib Keval, being honored with a Dumpling Award. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "KQED's Jessica Placzek reports from the third annual dumpling cook-off in Oakland, which pitted old family recipes against unconventional new concoctions that blended eastern and western influences.",
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"title": "Audio Postcard: Dumpling Wars takes on 'Game of Thrones' Theme | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/217082214″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/217082214″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Hundreds of dumpling fans across the Bay Area descended on \u003cem>Dumpling Wars\u003c/em> in Oakland last Sunday. The third annual dumpling cook-off pitted old family recipes against unconventional new concoctions that blended eastern and western influences.\u003c/p>\n\u003cp>This year’s theme, “Game of Noms,” challenged competitors to riff on the a \u003cem>Game of Thrones\u003c/em> theme. “In addition to being foodies, a lot of us are nerds as well,” says T.J. Basa of Kearny Street Workshop, the competition organizer.\u003c/p>\n\u003cp>Listen to the Audio Postcard above.\u003c/p>\n\u003cfigure id=\"attachment_10865399\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44871.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10865399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44871-800x533.jpg\" alt=\"House of Porkister showed off some dragon eggs with their dumplings.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44871-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">House of Porkister showed off some dragon eggs with their dumplings. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10863798\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4483.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10863798 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4483-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4483-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">House Harbin Maxi folding fresh dumplings. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865407\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44771.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10865407 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44771-800x533.jpg\" alt=\"Soup dumplings\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44771-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Soup dumplings by the Boba Guys. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10863804\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4439.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10863804\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4439-800x533.jpg\" alt='\"Who knows better how to do it than our parents?\" says Sandra of Team Harbin Maxi.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4439-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Who knows better how to do it than our parents?” says Sandra of House Harbin Maxi. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865402\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44411.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10865402 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_44411-800x533.jpg\" alt=\"IMG_4441\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_44411-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Judge’s Choice – The Chive Pocket, filled with pork, shrimp, eggs and chives. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10863801\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4491.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10863801\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4491-800x533.jpg\" alt=\"Dumpling lovers of every age and size ate their fill of the meaty delicacies.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4491-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dumpling lovers of every age and size ate their fill of the meaty delicacies. (Photo: Jessica Placzek/KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865388\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4499.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10865388 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4499-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-1400x933.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4499-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Boba guys serving tea with their tea infused dumplings. (Photo: Jessica Placzek: KQED)\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10865391\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4507.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10865391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/IMG_4507-800x584.jpg\" alt=\"Saqib Keval, being honored with a Dumpling Award.\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-1180x861.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-1400x1022.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/IMG_4507-960x701.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Saqib Keval, being honored with a Dumpling Award. 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"disqusTitle": "Black Love Festival Engages More Young People in Black Lives Matter",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> group of organizers is engaging more young people in the Black Lives Matter movement through art, music and love. It's been two years since Alicia Garza and Patrisse Cullors introduced the hashtag #BlackLivesMatter -- on the night George Zimmerman was acquitted for Trayvon Martin’s murder -- and eventually gave birth to a movement with co-founder Opal Tometi.\u003c/p>\n\u003cp>Since then, it has grown through social media, connecting a new generation of organizers. Three of them put on the first annual \u003ca href=\"http://blacklovefestival.tumblr.com/\">Black Love Festival\u003c/a> in San Francisco’s Bayview-Hunters Point on July 18.\u003c/p>\n\u003cp>The idea of Black Love is more complex and less hippie-dippie than you might think. It’s a celebration of love as a form of liberation, resistance and unity -- three themes that run deep in African-American culture. Amir \"Keez\" Shabazz is among the 400 or so black folks -- mostly students, young professionals, and creative types -- who came to enjoy an afternoon of arts and culture at Heron's Head Park.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/217041811&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Shabazz explains what black love means to him. \"'I’m here, I got your back and I love what you’re doing' is black love,\" he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he organizers chose Bayview-Hunters Point for the festival because they wanted young people to help reclaim San Francisco's historically African-American neighborhood and come together in a positive environment focused on self-care, self-healing and respect. Organizer China Pharr says everyone has a part to play in this movement.\u003c/p>\n\u003cp>\"You don’t have to be a leader or some politician,\" she says. \"You don’t have to be any of that. If you can draw, if you can write, if you can act, if you can sing, if you can clean houses, it doesn’t matter.\"\u003c/p>\n\u003cfigure id=\"attachment_10621214\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501.jpg\">\u003cimg class=\"wp-image-10621214 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg\" alt=\"Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30 and China Pharr, 24 (Adizah Eghan/KQED). \" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30, and China Pharr, 24 (Adizah Eghan/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Pharr and her fellow organizers, Etecia Brown and Leigh Davenport, met through the network of Black Lives Matter organizers, on Facebook. The idea for the Black Love Festival came from two problems they frequently encountered.\u003c/p>\n\u003cp>First, there are few black people left in San Francisco, where Leigh Davenport lives. She says, \"It’s palpable, it’s really palpable, the dwindling population,\" which is down to about 5 percent, half of what it was 20 years ago.\u003c/p>\n\u003cp>Second, not everyone feels comfortable demonstrating in the streets. \"We’ve had about five different events, and we’ve found that there wasn’t enough young people attending,\" Brown says. \"We were looking for people between the ages of 13 and 30.\"\u003c/p>\n\u003cp>So they tried a new strategy: They would get young black people to network and come to San Francisco for an arts and culture festival that was part creativity and part activism.\u003c/p>\n\u003cp>\"A big thing that’s happened in the black community in America is we have become ashamed of ourselves,\" Pharr says. \"I think when you see all this criminalization in the media, and you see all these representations of us, that we’re kind of afraid to be ourselves and celebrate ourselves.\"\u003c/p>\n\u003cp>All three of the women sit barefoot at a table in Brown's mother's apartment, not too far from where the festival took place. They've spent months trying to figure out the best way make this festival happen. The message of Black Love isn’t to shame people for not being at protests. Instead, it's to help a new generation heal.\u003c/p>\n\u003cp>The media are loaded with videos and stories of young people of color who are killed by the police. Pharr points to the \u003ca href=\"http://www.nytimes.com/interactive/2015/07/23/us/23blandlisty.html?_r=0\" target=\"_blank\">July 13 death of Sandra Bland\u003c/a>, who was pulled over for not putting on her turn signal while driving in Texas.\u003c/p>\n\u003cp> \"She was found hanging in a jail cell, and she was a college graduate just like me,\" she says. \"Moved to find a new job, just like me.\"\u003c/p>\n\u003cp>It becomes overwhelming, she adds: \"You kind of feel like there’s no end in sight sometimes. You kind of feel like, is it ever going to end? Are we ever going to stop being murdered? ... Some days I’m so happy that I was born with this beautiful melanin, and then some days I feel like it’s a blessing and a curse.\"\u003c/p>\n\u003cp>https://youtu.be/o1pmfsRCCSo\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hese feelings certainly aren't new, says \u003ca href=\"http://www.obatshaka.com/home\">Oba T'Shaka\u003c/a>, who has participated in various forms of resistance, starting with the civil rights movement in San Francisco in the '60s.\u003c/p>\n\u003cp>\"A lot of our youth are experiencing what we experienced, which is anger and disturbance at seeing our people oppressed,\" he says. In the '60s it was social and economic oppression. Today it's police oppression, he says.\u003c/p>\n\u003cp> \"The '60s produced a restructuring of the black mind, not for all blacks,\" T'Shaka says. \"In fact, our movements failed to systematize that.\"\u003c/p>\n\u003cp>The restructuring of the black mind is hard to put into words, but it’s happening with Black Lives Matter, he says. It's an awakening process similar to when a caterpillar becomes a butterfly. Once people become critically aware of the oppression around them, they start an awakening process and seek to heal from race-based trauma.\u003c/p>\n\u003cp>\"People realize that they have been hoodwinked. Some who had been involved in gangster behavior, gang-banging, realize that they’ve been gang-banging against the people who they’re supposed to be engaged in the struggle to liberate,\" T'Shaka says. \"And others who may have been involved in middle-class behavior and escapism, they begin to think about the collective and about the whole.\"\u003c/p>\n\u003cp>It's the moment Spike Lee alludes to in his films, like in the infamous \"Wake Up\" scene at the end of \"School Daze,\" when Laurence Fishburne's character, Dap, screams, \"WAAAAAAAAKE UP!\" as dreamy music builds and his fellow classmates gather in front of him. He's calling on his fellow classmates to wake up and undergo the awakening process.\u003c/p>\n\u003cp>The point, says T'Shaka, is that for self-love to happen, black Americans have always needed to embrace their African and African-American roots, sparking a deep transformation that builds collective \"leaderful\" movements like Black Lives Matter and Black Love.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/Lg8Oq_Sd3Bw\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> group of organizers is engaging more young people in the Black Lives Matter movement through art, music and love. It's been two years since Alicia Garza and Patrisse Cullors introduced the hashtag #BlackLivesMatter -- on the night George Zimmerman was acquitted for Trayvon Martin’s murder -- and eventually gave birth to a movement with co-founder Opal Tometi.\u003c/p>\n\u003cp>Since then, it has grown through social media, connecting a new generation of organizers. Three of them put on the first annual \u003ca href=\"http://blacklovefestival.tumblr.com/\">Black Love Festival\u003c/a> in San Francisco’s Bayview-Hunters Point on July 18.\u003c/p>\n\u003cp>The idea of Black Love is more complex and less hippie-dippie than you might think. It’s a celebration of love as a form of liberation, resistance and unity -- three themes that run deep in African-American culture. Amir \"Keez\" Shabazz is among the 400 or so black folks -- mostly students, young professionals, and creative types -- who came to enjoy an afternoon of arts and culture at Heron's Head Park.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/217041811&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Shabazz explains what black love means to him. \"'I’m here, I got your back and I love what you’re doing' is black love,\" he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he organizers chose Bayview-Hunters Point for the festival because they wanted young people to help reclaim San Francisco's historically African-American neighborhood and come together in a positive environment focused on self-care, self-healing and respect. Organizer China Pharr says everyone has a part to play in this movement.\u003c/p>\n\u003cp>\"You don’t have to be a leader or some politician,\" she says. \"You don’t have to be any of that. If you can draw, if you can write, if you can act, if you can sing, if you can clean houses, it doesn’t matter.\"\u003c/p>\n\u003cfigure id=\"attachment_10621214\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501.jpg\">\u003cimg class=\"wp-image-10621214 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg\" alt=\"Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30 and China Pharr, 24 (Adizah Eghan/KQED). \" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30, and China Pharr, 24 (Adizah Eghan/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Pharr and her fellow organizers, Etecia Brown and Leigh Davenport, met through the network of Black Lives Matter organizers, on Facebook. The idea for the Black Love Festival came from two problems they frequently encountered.\u003c/p>\n\u003cp>First, there are few black people left in San Francisco, where Leigh Davenport lives. She says, \"It’s palpable, it’s really palpable, the dwindling population,\" which is down to about 5 percent, half of what it was 20 years ago.\u003c/p>\n\u003cp>Second, not everyone feels comfortable demonstrating in the streets. \"We’ve had about five different events, and we’ve found that there wasn’t enough young people attending,\" Brown says. \"We were looking for people between the ages of 13 and 30.\"\u003c/p>\n\u003cp>So they tried a new strategy: They would get young black people to network and come to San Francisco for an arts and culture festival that was part creativity and part activism.\u003c/p>\n\u003cp>\"A big thing that’s happened in the black community in America is we have become ashamed of ourselves,\" Pharr says. \"I think when you see all this criminalization in the media, and you see all these representations of us, that we’re kind of afraid to be ourselves and celebrate ourselves.\"\u003c/p>\n\u003cp>All three of the women sit barefoot at a table in Brown's mother's apartment, not too far from where the festival took place. They've spent months trying to figure out the best way make this festival happen. The message of Black Love isn’t to shame people for not being at protests. Instead, it's to help a new generation heal.\u003c/p>\n\u003cp>The media are loaded with videos and stories of young people of color who are killed by the police. Pharr points to the \u003ca href=\"http://www.nytimes.com/interactive/2015/07/23/us/23blandlisty.html?_r=0\" target=\"_blank\">July 13 death of Sandra Bland\u003c/a>, who was pulled over for not putting on her turn signal while driving in Texas.\u003c/p>\n\u003cp> \"She was found hanging in a jail cell, and she was a college graduate just like me,\" she says. \"Moved to find a new job, just like me.\"\u003c/p>\n\u003cp>It becomes overwhelming, she adds: \"You kind of feel like there’s no end in sight sometimes. You kind of feel like, is it ever going to end? Are we ever going to stop being murdered? ... Some days I’m so happy that I was born with this beautiful melanin, and then some days I feel like it’s a blessing and a curse.\"\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/o1pmfsRCCSo'\n title='//www.youtube.com/embed/o1pmfsRCCSo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hese feelings certainly aren't new, says \u003ca href=\"http://www.obatshaka.com/home\">Oba T'Shaka\u003c/a>, who has participated in various forms of resistance, starting with the civil rights movement in San Francisco in the '60s.\u003c/p>\n\u003cp>\"A lot of our youth are experiencing what we experienced, which is anger and disturbance at seeing our people oppressed,\" he says. In the '60s it was social and economic oppression. Today it's police oppression, he says.\u003c/p>\n\u003cp> \"The '60s produced a restructuring of the black mind, not for all blacks,\" T'Shaka says. \"In fact, our movements failed to systematize that.\"\u003c/p>\n\u003cp>The restructuring of the black mind is hard to put into words, but it’s happening with Black Lives Matter, he says. It's an awakening process similar to when a caterpillar becomes a butterfly. Once people become critically aware of the oppression around them, they start an awakening process and seek to heal from race-based trauma.\u003c/p>\n\u003cp>\"People realize that they have been hoodwinked. Some who had been involved in gangster behavior, gang-banging, realize that they’ve been gang-banging against the people who they’re supposed to be engaged in the struggle to liberate,\" T'Shaka says. \"And others who may have been involved in middle-class behavior and escapism, they begin to think about the collective and about the whole.\"\u003c/p>\n\u003cp>It's the moment Spike Lee alludes to in his films, like in the infamous \"Wake Up\" scene at the end of \"School Daze,\" when Laurence Fishburne's character, Dap, screams, \"WAAAAAAAAKE UP!\" as dreamy music builds and his fellow classmates gather in front of him. He's calling on his fellow classmates to wake up and undergo the awakening process.\u003c/p>\n\u003cp>The point, says T'Shaka, is that for self-love to happen, black Americans have always needed to embrace their African and African-American roots, sparking a deep transformation that builds collective \"leaderful\" movements like Black Lives Matter and Black Love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Artists across the Bay Area are expressing shock and dismay after the Building Industry Association of the Bay Area (BIA) filed a lawsuit against the city of Oakland last week over the issue of public art in privately-funded developments.\u003c/p>\n\u003cp>The\u003ca href=\"http://www.biabayarea.org\" target=\"_blank\" rel=\"noopener\"> BIA Bay Area\u003c/a>, a nonprofit association of contractors, developers and building industry business owners, is fighting the city’s percent for art ordinance, which they claim violates their first and fifth amendment rights.\u003c/p>\n\u003cp>“I consider this the ‘slip and fall’ of development lawsuits,” says Oakland artist Randy Colosky.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/216799697″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The ordinance, which already applied to Oakland municipal projects, expanded in early February to require that commercial projects costing more than $200,000 devote one percent of their budgets to public art. Residential projects must devote one-half percent of their budgets to public art. Alternatively, any building project can pay a corresponding amount into a pooled fund for public art programs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Developers owe it to the city and residents to enrich the landscape and culture of the urban space,” Emma Spertus, artist and founder of the Oakland studio building and residency program \u003ca href=\"http://www.realtimeandspace.org/\" target=\"_blank\" rel=\"noopener\">Real Time and Space\u003c/a>, says.\u003c/p>\n\u003cp>“Public art is about the architecture of a space, the architecture of a community, the architecture of a building,” says Colosky, who recently completed \u003ca href=\"http://www.sfartscommission.org/pubartcollection/pubart-press-releases/2014/02/06/coming-soon-new-mural-by-randy-colosky-mural-at-future-central-subway-moscone-station/\" target=\"_blank\" rel=\"noopener\">a public art commission\u003c/a> in San Francisco at the site of the future Central Subway.\u003c/p>\n\u003cfigure id=\"attachment_10865580\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10865580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z.jpg\" alt=\"Randy Colosky, 'Ellipses in the Key of Blue,' installation at the Moscone Central Subway construction site. (Photo: Ethan Kaplan/San Francisco Arts Commission) \" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Randy Colosky, ‘Ellipses in the Key of Blue,’ installation at the Moscone Central Subway construction site. (Photo: Ethan Kaplan/San Francisco Arts Commission)\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced by then-councilmember Libby Schaaf, the amendment was approved in Nov. 2014 and went into effect in Feb. 2015. The \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/policy/oak052794.pdf\" target=\"_blank\" rel=\"noopener\">ordinance\u003c/a> stresses public art is “important for the vitality of the artist community as well as the quality of life for all Oakland residents.”\u003c/p>\n\u003cp>This sentiment flies in direct contrast to the suit filed last week.\u003c/p>\n\u003cp>BIA Bay Area is represented by Pacific Legal Foundation (PLF), a conservative public interest law firm. The firm \u003ca href=\"http://www.pacificlegal.org/releases/release-7-23-15-biaba-v-oakland-4-1538\" target=\"_blank\" rel=\"noopener\">says\u003c/a> the city is “forcing builders of homes and commercial projects to fund art works that have no reasonable connection to any public needs created by their building projects.”\u003c/p>\n\u003cp>Percent-for-art ordinances already exist in most Bay Area cities, including San Francisco, Berkeley, Walnut Creek, Emeryville, El Cerrito and Santa Rosa. Oakland, with its large and ever-growing artist community, follows a well-established trend of integrating public art into private developments.\u003c/p>\n\u003cp>Kristen Zaremba, senior public art project manager for the city says, “Support for the arts and the arts community is fierce and committed, from the mayor on down.”\u003c/p>\n\u003cp>So why sue Oakland, and why now?\u003c/p>\n\u003cp>Claiming the percent for art ordinance levies needless fees on developers, BIA positions itself as pro-housing in the midst of the Bay Area’s housing crisis. Since the ordinance is new and hasn’t yet accumulated any funds, perhaps the BIA seeks to cut off such expenditures before they become commonplace.\u003c/p>\n\u003cfigure id=\"attachment_10865584\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10865584\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/294244155_big.jpg\" alt=\"Emma Spertus, 'Space blinds,' installation at Interface Gallery. (Photo: Emma Spertus, Interface Gallery)\" width=\"600\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/294244155_big.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/294244155_big-400x251.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Emma Spertus, ‘Space blinds,’ installation at Interface Gallery. (Photo: Emma Spertus, Interface Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Colosky believes the economic argument is groundless. “As someone who has vetted projects for the city of Oakland, I know how little of the budget includes public art,” Colosky says. “It’s miniscule. If a developer can’t make money and include that, he’s not a good developer.”\u003c/p>\n\u003cp>As local artists and members of the community voice their anger towards BIA on social media and rally email-writing campaigns, the conversation also turns towards the possibilities of even more support for the arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Spertus has hopes for the city’s future arts spending, barring any setbacks from the lawsuit. “I hope the percent for art can translate into more artists grants. I think to be the caliber of city it should be, Oakland should be funneling even more funds to local artists, not just those who are doing public art,” she says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artists across the Bay Area are expressing shock and dismay after the Building Industry Association of the Bay Area (BIA) filed a lawsuit against the city of Oakland last week over the issue of public art in privately-funded developments.\u003c/p>\n\u003cp>The\u003ca href=\"http://www.biabayarea.org\" target=\"_blank\" rel=\"noopener\"> BIA Bay Area\u003c/a>, a nonprofit association of contractors, developers and building industry business owners, is fighting the city’s percent for art ordinance, which they claim violates their first and fifth amendment rights.\u003c/p>\n\u003cp>“I consider this the ‘slip and fall’ of development lawsuits,” says Oakland artist Randy Colosky.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/216799697″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/216799697″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The ordinance, which already applied to Oakland municipal projects, expanded in early February to require that commercial projects costing more than $200,000 devote one percent of their budgets to public art. Residential projects must devote one-half percent of their budgets to public art. Alternatively, any building project can pay a corresponding amount into a pooled fund for public art programs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Developers owe it to the city and residents to enrich the landscape and culture of the urban space,” Emma Spertus, artist and founder of the Oakland studio building and residency program \u003ca href=\"http://www.realtimeandspace.org/\" target=\"_blank\" rel=\"noopener\">Real Time and Space\u003c/a>, says.\u003c/p>\n\u003cp>“Public art is about the architecture of a space, the architecture of a community, the architecture of a building,” says Colosky, who recently completed \u003ca href=\"http://www.sfartscommission.org/pubartcollection/pubart-press-releases/2014/02/06/coming-soon-new-mural-by-randy-colosky-mural-at-future-central-subway-moscone-station/\" target=\"_blank\" rel=\"noopener\">a public art commission\u003c/a> in San Francisco at the site of the future Central Subway.\u003c/p>\n\u003cfigure id=\"attachment_10865580\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10865580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z.jpg\" alt=\"Randy Colosky, 'Ellipses in the Key of Blue,' installation at the Moscone Central Subway construction site. (Photo: Ethan Kaplan/San Francisco Arts Commission) \" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/14532906360_c31cab9b3c_z-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Randy Colosky, ‘Ellipses in the Key of Blue,’ installation at the Moscone Central Subway construction site. (Photo: Ethan Kaplan/San Francisco Arts Commission)\u003c/figcaption>\u003c/figure>\n\u003cp>Introduced by then-councilmember Libby Schaaf, the amendment was approved in Nov. 2014 and went into effect in Feb. 2015. The \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/policy/oak052794.pdf\" target=\"_blank\" rel=\"noopener\">ordinance\u003c/a> stresses public art is “important for the vitality of the artist community as well as the quality of life for all Oakland residents.”\u003c/p>\n\u003cp>This sentiment flies in direct contrast to the suit filed last week.\u003c/p>\n\u003cp>BIA Bay Area is represented by Pacific Legal Foundation (PLF), a conservative public interest law firm. The firm \u003ca href=\"http://www.pacificlegal.org/releases/release-7-23-15-biaba-v-oakland-4-1538\" target=\"_blank\" rel=\"noopener\">says\u003c/a> the city is “forcing builders of homes and commercial projects to fund art works that have no reasonable connection to any public needs created by their building projects.”\u003c/p>\n\u003cp>Percent-for-art ordinances already exist in most Bay Area cities, including San Francisco, Berkeley, Walnut Creek, Emeryville, El Cerrito and Santa Rosa. Oakland, with its large and ever-growing artist community, follows a well-established trend of integrating public art into private developments.\u003c/p>\n\u003cp>Kristen Zaremba, senior public art project manager for the city says, “Support for the arts and the arts community is fierce and committed, from the mayor on down.”\u003c/p>\n\u003cp>So why sue Oakland, and why now?\u003c/p>\n\u003cp>Claiming the percent for art ordinance levies needless fees on developers, BIA positions itself as pro-housing in the midst of the Bay Area’s housing crisis. Since the ordinance is new and hasn’t yet accumulated any funds, perhaps the BIA seeks to cut off such expenditures before they become commonplace.\u003c/p>\n\u003cfigure id=\"attachment_10865584\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10865584\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/294244155_big.jpg\" alt=\"Emma Spertus, 'Space blinds,' installation at Interface Gallery. (Photo: Emma Spertus, Interface Gallery)\" width=\"600\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/294244155_big.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/294244155_big-400x251.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Emma Spertus, ‘Space blinds,’ installation at Interface Gallery. (Photo: Emma Spertus, Interface Gallery)\u003c/figcaption>\u003c/figure>\n\u003cp>Colosky believes the economic argument is groundless. “As someone who has vetted projects for the city of Oakland, I know how little of the budget includes public art,” Colosky says. “It’s miniscule. If a developer can’t make money and include that, he’s not a good developer.”\u003c/p>\n\u003cp>As local artists and members of the community voice their anger towards BIA on social media and rally email-writing campaigns, the conversation also turns towards the possibilities of even more support for the arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Spertus has hopes for the city’s future arts spending, barring any setbacks from the lawsuit. “I hope the percent for art can translate into more artists grants. I think to be the caliber of city it should be, Oakland should be funneling even more funds to local artists, not just those who are doing public art,” she says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After being jailed by the Chinese government in 2011, and his work censored in the country, the dissident artist Ai Weiwei received\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/22/425231907/after-four-years-chinese-dissident-artist-ai-weiwei-gets-his-passport-back\"> his passport back\u003c/a> this week.\u003c/p>\n\u003cp>“My heart is at peace,” the artist said in an \u003ca href=\"http://www.cnn.com/2015/07/23/asia/china-ai-weiwei-watson-interview/\">interview with CNN\u003c/a>. “I feel quite released.”\u003c/p>\n\u003cp>Although unable to travel abroad, Ai, who is known for contemporary art that asserts free speech and human rights, still managed to mount a major exhibition in San Francisco without ever setting foot in the city. \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2014/09/25/exploring-freedom-and-confinement-on-alcatraz/\">@ Large: Ai Weiwei on Alcatraz\u003c/a> \u003c/em>was curated by Cheryl Haines, founder of the For-Site Foundation located in San Francisco, and a friend of Ai. Haines spoke with KQED about her remote collaboration with the artist on \u003cem>@Large\u003c/em> and the significance of Ai’s ability to travel freely again.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/216223313″]\u003c/p>\n\u003cp>Alcatraz saw nearly 900,000 visitors, many of them Bay Area residents, during the exhibition’s run from Sep. 27, 2014 to Apr. 26, 2015, Haines said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=W_UkcNhY0IM]\u003c/p>\n\u003cp>In one of the show’s installations, \u003cem>Yours Truly\u003c/em>, visitors could send postcards addressed to dissidents in 30 nations, Haines said.\u003c/p>\n\u003cp>“Some of the individuals, particularly the children, I found, sent the most beautiful messages. Some of them very simple. Others way more emotionally complex and mature than their years might suggest,” she said.\u003c/p>\n\u003cp>Haines remembers one response from a “very serious” looking six-year-old. When the boy left, she picked up his card and read it.\u003c/p>\n\u003cp>“Dear Prisoner, I don’t know what your day is like,” Haines said, reciting the words on the card. “I’m not even sure what you did. But I’m very sorry and I hope that you get out soon. And if you don’t, please try to find some joy, some happiness everyday.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Haines said she is working on a documentary called \u003cem>Yours Truly\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After being jailed by the Chinese government in 2011, and his work censored in the country, the dissident artist Ai Weiwei received\u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/22/425231907/after-four-years-chinese-dissident-artist-ai-weiwei-gets-his-passport-back\"> his passport back\u003c/a> this week.\u003c/p>\n\u003cp>“My heart is at peace,” the artist said in an \u003ca href=\"http://www.cnn.com/2015/07/23/asia/china-ai-weiwei-watson-interview/\">interview with CNN\u003c/a>. “I feel quite released.”\u003c/p>\n\u003cp>Although unable to travel abroad, Ai, who is known for contemporary art that asserts free speech and human rights, still managed to mount a major exhibition in San Francisco without ever setting foot in the city. \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2014/09/25/exploring-freedom-and-confinement-on-alcatraz/\">@ Large: Ai Weiwei on Alcatraz\u003c/a> \u003c/em>was curated by Cheryl Haines, founder of the For-Site Foundation located in San Francisco, and a friend of Ai. Haines spoke with KQED about her remote collaboration with the artist on \u003cem>@Large\u003c/em> and the significance of Ai’s ability to travel freely again.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='undefined' height='undefined'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/216223313″&visual=true&undefined'\n title='”https://api.soundcloud.com/tracks/216223313″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Alcatraz saw nearly 900,000 visitors, many of them Bay Area residents, during the exhibition’s run from Sep. 27, 2014 to Apr. 26, 2015, Haines said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"info": "",
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