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"title": "Journey into 1963 with Comic Artist Diego Gómez",
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"content": "\u003cp>Whether crafting elaborate drag personas or drawing a provocatively \u003ca href=\"https://www.etsy.com/listing/569502077/skeletor-masters-of-the-universe-print?ref=shop_home_active_42\" rel=\"noopener\" target=\"_blank\">apple-bottomed rendition of He-Man nemesis Skeletor\u003c/a>, fantasy is clearly a specialty for San Francisco artist Diego Gómez. For those already familiar with Gomez’s penchant for amphibious femme makeovers and slutty superhero art, a decidedly earthbound subject like American history may initially seem a drab departure for a debut comic book. But Gómez’s \u003cem>1963 Is Not An End, But A Beginning\u003c/em> is not your standard Scholastic funny book.\u003c/p>\n\u003cp>From Larry Gonick’s old-school \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Cartoon_History_of_the_Universe\" rel=\"noopener\" target=\"_blank\">A Cartoon History of the Universe\u003c/a>\u003c/em> to Kate Beaton’s hilarious \u003cem>\u003ca href=\"http://www.harkavagrant.com/\" rel=\"noopener\" target=\"_blank\">Hark! A Vagrant\u003c/a>\u003c/em>, historical comics aren’t new terrain. Comparisons to Nate Powell’s award-winning \u003cem>March\u003c/em>, a three-volume magnum opus covering the ’60s civil rights movement, may immediately spring to mind (side note: behold the photos of \u003cem>March\u003c/em> co-creator and Congressman John Lewis \u003ca href=\"https://www.washingtonpost.com/news/comic-riffs/wp/2015/07/13/the-real-origin-story-behind-how-rep-john-lewis-became-the-hit-of-comic-con/?utm_term=.b459922bc7c3\" rel=\"noopener\" target=\"_blank\">cosplaying as himself at Comic-Con 2015\u003c/a> and become reborn).\u003c/p>\n\u003cp>But whereas \u003cem>March\u003c/em> dives deep into a single chapter of the civil rights movement, Gómez, who evaluates the year 1963 as a \u003ca href=\"https://www.youtube.com/watch?v=Rwq27MOZhC0\" rel=\"noopener\" target=\"_blank\">current-day drag performer\u003c/a> and founding member of POC performance group Yum Yum Club!, paints this comic with broader strokes. In fact, most events included here from 1963 are given equal billing, regardless of their traditional importance. Presented in a classic timeline style, Martin Luther King, Jr.’s “Letter from Birmingham Jail” is given the same amount of panel space as lesser-known events like the birth of transgender artist & activist \u003ca href=\"https://www.justinvivianbond.com/\" rel=\"noopener\" target=\"_blank\">Mx Justin Vivien Bond\u003c/a> and the publication of \u003ca href=\"https://www.comics.org/issue/17506/\" rel=\"noopener\" target=\"_blank\">\u003cem>Wonder Woman\u003c/em> No. 136\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-800x450.jpg\" alt=\"A panel from Diego Gómez's new comic book, '1963 is Not an End, But a Beginning.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13819145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_.jpg 1375w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Diego Gómez’s new comic book, ‘1963 is Not an End, But a Beginning.’ \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>1963 Is Not An End, But A Beginning\u003c/em>, you may have bought a ticket for the history lesson, but Gómez’s talent for illustration is the star attraction that keeps you in your seat. Nearly every panel could be framed and stand on its own. Gómez’s realistic style tethers an interest in the celestial and experimental to the organic, keeping the frequent shifts in subject engaging and relatable.\u003c/p>\n\u003cp>KQED Arts caught up with Gómez to learn what it is about 1963 that inspired a trip to the drawing table.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Why 1963?\u003c/strong>\u003c/p>\n\u003cp>So many reasons! Originally, two major events brought me here. \u003cem>X-Men\u003c/em>, my lifelong obsession, was first published in September 1963, and Gloria Steinem was a Playboy bunny then, undercover! I love me some espionage. After that, I was like “Hmm… I wonder what else happened?” Turns out, the March on Washington! That was the point of no return for me. So many important events happened in ’63 and I never saw anyone talk about them as a whole, so I decided that I would.\u003c/p>\n\u003cp>A few months before I finished my book, I saw a documentary about 1964 which was great, and I thought, “Oh no — I picked the wrong year!” (laughs). But I think ’63 is still more interesting. It really informs ’64.\u003c/p>\n\u003cp>\u003cstrong>Can you talk a little about the multimedia aspects of the book?\u003c/strong>\u003c/p>\n\u003cp>I illustrated the book in 13 different styles. The main one is a nod to “the paper bag test” which is based on Colorism, and is a major theme in \u003cem>1963 is Not an End, But a Beginning\u003c/em>. The rest were dependent on the events or subject of their respective pages. For instance, the fashion page was illustrated using makeup. There’s a coloring book spread on one of the pages where a girl is drinking from a “colored only” water fountain. There’s a page illustrated in the style of Jean Cocteau where he’s featured and there’s a page you read with 3D glasses.\u003c/p>\n\u003cp>For a fully immersive experience, you can even listen to a \u003ca href=\"https://www.youtube.com/playlist?list=PL0uF6TvBJaKmx7wth-SFTgUyWNkM8flhf\" rel=\"noopener\" target=\"_blank\">playlist of the music of 1963\u003c/a> while you read.\u003c/p>\n\u003cfigure id=\"attachment_13819147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/KQED_1963_10-800x614.jpg\" alt=\"A portion of '1963' about Gloria Steinem's Playboy bunny stint.\" width=\"800\" height=\"614\" class=\"size-medium wp-image-13819147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-1180x905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-960x736.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-520x399.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10.jpg 1347w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of ‘1963’ about Gloria Steinem’s Playboy bunny stint. \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is this your first history comic? How does it differ from your other work?\u003c/strong>\u003c/p>\n\u003cp>It is. And it’s my first solo comic in general. I’ve lettered, colored & drawn comics for \u003ca href=\"http://tweaker.org/\" rel=\"noopener\" target=\"_blank\">Tweaker.org\u003c/a>, \u003ca href=\"http://www.pridecomics.com/\" rel=\"noopener\" target=\"_blank\">Pride High\u003c/a>, \u003ca href=\"https://comicbookrealm.com/publisher/5363/gravity-faggot-productions\" rel=\"noopener\" target=\"_blank\">Gravity Faggot\u003c/a>, Glamazonia, and \u003ca href=\"http://superstarhealtheducation.com/\" rel=\"noopener\" target=\"_blank\">Superstar Health Education\u003c/a>. Tweaker.org and Superstar Health Education are sites for harm reduction and sex ed. The others are fun LGBTQAI superhero comics. \u003cem>1963\u003c/em> is the first comic that I’ve written. I’ve always loved documentaries, musicals, and comic books. This is all of that rolled into one.\u003c/p>\n\u003cp>\u003cstrong>If there’s one theme that stands out in the book, it’s transformation. From Gloria Steinem’s undercover Bunny operation to the Casa Susanna cross-dressing sanctuary to superheroes. Was this intentional?\u003c/strong>\u003c/p>\n\u003cp>Yes, I’m glad you caught that. I always love when there’s a transformation scene in movies. I love secret identities and the suggestion that changing your clothes and attitude can be a disguise. Gloria Steinem is played by Kirstie Alley in her biopic “A Bunny’s Tale” and it has one of my favorite transformation scenes ever. The fictional character I created for \u003cem>1963\u003c/em>, Scarlet Sparrow, has the ability to morph. They’re the throughline of this book.\u003c/p>\n\u003cfigure id=\"attachment_13819148\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1020x1558.jpg\" alt=\"The March on Washington in '1963.'\" width=\"640\" height=\"978\" class=\"size-large wp-image-13819148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1020x1558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-800x1222.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-768x1173.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1180x1802.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-960x1466.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-240x367.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-375x573.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-520x794.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7.jpg 1341w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The March on Washington in ‘1963.’ \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s talk about your choice of color. Is there any significance in the change in color scheme halfway through the book?\u003c/strong>\u003c/p>\n\u003cp>A few things happened in June of ’63 that were “game changers,” and I figured it would be cool to switch up the art style to reflect this: the first woman in space, a variation of the “I Have a Dream” speech, and \u003cem>Leave it to Beaver\u003c/em> getting canceled. I know this last one sounds small in comparison, but this cancelation has been called the “end of the ’50s” and I can see why. The Cleaver family was really the face of the media portrayal of the ’50s, and that didn’t fit into the ’60s. The illustration style of black-and-white paint on brown paper has a nostalgic sepia-toned photograph feel, whereas the following month’s stark black-and-white illustration takes the reader to a shocking image of Vietnam, which hadn’t been discussed since the first page.\u003c/p>\n\u003cp>\u003cstrong>When did you first start drawing comics?\u003c/strong>\u003c/p>\n\u003cp>I’ve drawn comic-book-style characters since I was a kid, but the first time I drew sequential art was with the \u003cem>Glamazonia\u003c/em> trade paperback, which came out seven years to the day before I sent \u003cem>1963\u003c/em> to print.\u003c/p>\n\u003cp>\u003cstrong>Which came first — drag or comics? Does one inform the other?\u003c/strong>\u003c/p>\n\u003cp>One TOTALLY informs the other. I’ve been performing in drag for eight years now and have been published in comics for seven. I’ve been reading comics since 1992 with the relaunch of \u003cem>X-Men\u003c/em> No. 1, and I had been secretly putting on my mom’s clothes since I don’t know when. Almost all my comic book characters look like drag queens, and my drag is predominately cosplay based off comics, movies, television, and books. In fact, my drag family and I are starting a cosplay drag party this month at the Stud bar called \u003ca href=\"https://www.studsf.com/new-events/https/wwwfacebookcom/events/141426746638244\" rel=\"noopener\" target=\"_blank\">BoobTube\u003c/a>.\u003c/p>\n\u003cp>RuPaul is always saying “drag doesn’t hide who you are, it reveals who you are.” Superman’s “disguise” is actually taking off his real disguise (of glasses and office-drag) and showing his true self of having superpowers and wearing his family’s crest on his chest. My drag is often political, sometimes sad, and really flamboyant, whereas day to day, I’m pretty mild-mannered.\u003c/p>\n\u003cfigure id=\"attachment_13819144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/DiegoGo%CC%81mez_TransformationTu-800x501.jpg\" alt=\"Diego Gómez both in and out of drag as Trangela Lansbury.\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13819144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu.jpg 1275w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diego Gómez both in and out of drag as Trangela Lansbury. \u003ccite>(Courtesy Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A recurring image in \u003cem>1963\u003c/em> is the Sugar Shack. What’s up with the Sugar Shack?\u003c/strong>\u003c/p>\n\u003cp>“Sugar Shack” is a \u003ca href=\"https://www.youtube.com/watch?v=iHzjfGF6MiU\" rel=\"noopener\" target=\"_blank\">really cute song\u003c/a> recorded in 1963 by Jimmy Gilmer & The Fireballs that’s very visual, so I wrote it into the story as a cafe where one of my characters works. \u003c/p>\n\u003cp>\u003cstrong>What do you hope readers will take away from your book?\u003c/strong>\u003c/p>\n\u003cp>I hope readers will be inspired by the civil rights leaders of ’63 and take to the streets to protest, resist and vote. My title, taken from a speech by Martin Luther King, Jr. at the March on Washington, says it all: “1963 is Not an End, But a Beginning.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘1963 Is Not An End, But A Beginning’ is available locally at Mission Comics, Dog Eared Books, and Alley Cat Books, as well as Diego Gómez’s \u003ca href=\"https://www.etsy.com/shop/DesignNurd\" rel=\"noopener\" target=\"_blank\">online store\u003c/a>. See more of Diego Gómez’s work \u003ca href=\"https://www.instagram.com/DesignNurd/\" rel=\"noopener\" target=\"_blank\">on Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The year of Martin Luther King, Jr.'s March on Washington, social upheaval loomed in ways both big and small — as captured in Diego Gómez's new comic book.",
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"title": "Journey into 1963 with Comic Artist Diego Gómez | KQED",
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"headline": "Journey into 1963 with Comic Artist Diego Gómez",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether crafting elaborate drag personas or drawing a provocatively \u003ca href=\"https://www.etsy.com/listing/569502077/skeletor-masters-of-the-universe-print?ref=shop_home_active_42\" rel=\"noopener\" target=\"_blank\">apple-bottomed rendition of He-Man nemesis Skeletor\u003c/a>, fantasy is clearly a specialty for San Francisco artist Diego Gómez. For those already familiar with Gomez’s penchant for amphibious femme makeovers and slutty superhero art, a decidedly earthbound subject like American history may initially seem a drab departure for a debut comic book. But Gómez’s \u003cem>1963 Is Not An End, But A Beginning\u003c/em> is not your standard Scholastic funny book.\u003c/p>\n\u003cp>From Larry Gonick’s old-school \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Cartoon_History_of_the_Universe\" rel=\"noopener\" target=\"_blank\">A Cartoon History of the Universe\u003c/a>\u003c/em> to Kate Beaton’s hilarious \u003cem>\u003ca href=\"http://www.harkavagrant.com/\" rel=\"noopener\" target=\"_blank\">Hark! A Vagrant\u003c/a>\u003c/em>, historical comics aren’t new terrain. Comparisons to Nate Powell’s award-winning \u003cem>March\u003c/em>, a three-volume magnum opus covering the ’60s civil rights movement, may immediately spring to mind (side note: behold the photos of \u003cem>March\u003c/em> co-creator and Congressman John Lewis \u003ca href=\"https://www.washingtonpost.com/news/comic-riffs/wp/2015/07/13/the-real-origin-story-behind-how-rep-john-lewis-became-the-hit-of-comic-con/?utm_term=.b459922bc7c3\" rel=\"noopener\" target=\"_blank\">cosplaying as himself at Comic-Con 2015\u003c/a> and become reborn).\u003c/p>\n\u003cp>But whereas \u003cem>March\u003c/em> dives deep into a single chapter of the civil rights movement, Gómez, who evaluates the year 1963 as a \u003ca href=\"https://www.youtube.com/watch?v=Rwq27MOZhC0\" rel=\"noopener\" target=\"_blank\">current-day drag performer\u003c/a> and founding member of POC performance group Yum Yum Club!, paints this comic with broader strokes. In fact, most events included here from 1963 are given equal billing, regardless of their traditional importance. Presented in a classic timeline style, Martin Luther King, Jr.’s “Letter from Birmingham Jail” is given the same amount of panel space as lesser-known events like the birth of transgender artist & activist \u003ca href=\"https://www.justinvivianbond.com/\" rel=\"noopener\" target=\"_blank\">Mx Justin Vivien Bond\u003c/a> and the publication of \u003ca href=\"https://www.comics.org/issue/17506/\" rel=\"noopener\" target=\"_blank\">\u003cem>Wonder Woman\u003c/em> No. 136\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819145\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-800x450.jpg\" alt=\"A panel from Diego Gómez's new comic book, '1963 is Not an End, But a Beginning.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13819145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGomez.Main_.jpg 1375w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel from Diego Gómez’s new comic book, ‘1963 is Not an End, But a Beginning.’ \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>1963 Is Not An End, But A Beginning\u003c/em>, you may have bought a ticket for the history lesson, but Gómez’s talent for illustration is the star attraction that keeps you in your seat. Nearly every panel could be framed and stand on its own. Gómez’s realistic style tethers an interest in the celestial and experimental to the organic, keeping the frequent shifts in subject engaging and relatable.\u003c/p>\n\u003cp>KQED Arts caught up with Gómez to learn what it is about 1963 that inspired a trip to the drawing table.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Why 1963?\u003c/strong>\u003c/p>\n\u003cp>So many reasons! Originally, two major events brought me here. \u003cem>X-Men\u003c/em>, my lifelong obsession, was first published in September 1963, and Gloria Steinem was a Playboy bunny then, undercover! I love me some espionage. After that, I was like “Hmm… I wonder what else happened?” Turns out, the March on Washington! That was the point of no return for me. So many important events happened in ’63 and I never saw anyone talk about them as a whole, so I decided that I would.\u003c/p>\n\u003cp>A few months before I finished my book, I saw a documentary about 1964 which was great, and I thought, “Oh no — I picked the wrong year!” (laughs). But I think ’63 is still more interesting. It really informs ’64.\u003c/p>\n\u003cp>\u003cstrong>Can you talk a little about the multimedia aspects of the book?\u003c/strong>\u003c/p>\n\u003cp>I illustrated the book in 13 different styles. The main one is a nod to “the paper bag test” which is based on Colorism, and is a major theme in \u003cem>1963 is Not an End, But a Beginning\u003c/em>. The rest were dependent on the events or subject of their respective pages. For instance, the fashion page was illustrated using makeup. There’s a coloring book spread on one of the pages where a girl is drinking from a “colored only” water fountain. There’s a page illustrated in the style of Jean Cocteau where he’s featured and there’s a page you read with 3D glasses.\u003c/p>\n\u003cp>For a fully immersive experience, you can even listen to a \u003ca href=\"https://www.youtube.com/playlist?list=PL0uF6TvBJaKmx7wth-SFTgUyWNkM8flhf\" rel=\"noopener\" target=\"_blank\">playlist of the music of 1963\u003c/a> while you read.\u003c/p>\n\u003cfigure id=\"attachment_13819147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/KQED_1963_10-800x614.jpg\" alt=\"A portion of '1963' about Gloria Steinem's Playboy bunny stint.\" width=\"800\" height=\"614\" class=\"size-medium wp-image-13819147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-1180x905.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-960x736.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-240x184.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-375x288.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10-520x399.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_10.jpg 1347w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of ‘1963’ about Gloria Steinem’s Playboy bunny stint. \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Is this your first history comic? How does it differ from your other work?\u003c/strong>\u003c/p>\n\u003cp>It is. And it’s my first solo comic in general. I’ve lettered, colored & drawn comics for \u003ca href=\"http://tweaker.org/\" rel=\"noopener\" target=\"_blank\">Tweaker.org\u003c/a>, \u003ca href=\"http://www.pridecomics.com/\" rel=\"noopener\" target=\"_blank\">Pride High\u003c/a>, \u003ca href=\"https://comicbookrealm.com/publisher/5363/gravity-faggot-productions\" rel=\"noopener\" target=\"_blank\">Gravity Faggot\u003c/a>, Glamazonia, and \u003ca href=\"http://superstarhealtheducation.com/\" rel=\"noopener\" target=\"_blank\">Superstar Health Education\u003c/a>. Tweaker.org and Superstar Health Education are sites for harm reduction and sex ed. The others are fun LGBTQAI superhero comics. \u003cem>1963\u003c/em> is the first comic that I’ve written. I’ve always loved documentaries, musicals, and comic books. This is all of that rolled into one.\u003c/p>\n\u003cp>\u003cstrong>If there’s one theme that stands out in the book, it’s transformation. From Gloria Steinem’s undercover Bunny operation to the Casa Susanna cross-dressing sanctuary to superheroes. Was this intentional?\u003c/strong>\u003c/p>\n\u003cp>Yes, I’m glad you caught that. I always love when there’s a transformation scene in movies. I love secret identities and the suggestion that changing your clothes and attitude can be a disguise. Gloria Steinem is played by Kirstie Alley in her biopic “A Bunny’s Tale” and it has one of my favorite transformation scenes ever. The fictional character I created for \u003cem>1963\u003c/em>, Scarlet Sparrow, has the ability to morph. They’re the throughline of this book.\u003c/p>\n\u003cfigure id=\"attachment_13819148\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1020x1558.jpg\" alt=\"The March on Washington in '1963.'\" width=\"640\" height=\"978\" class=\"size-large wp-image-13819148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1020x1558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-800x1222.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-768x1173.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-1180x1802.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-960x1466.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-240x367.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-375x573.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7-520x794.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/KQED_1963_7.jpg 1341w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The March on Washington in ‘1963.’ \u003ccite>(Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Let’s talk about your choice of color. Is there any significance in the change in color scheme halfway through the book?\u003c/strong>\u003c/p>\n\u003cp>A few things happened in June of ’63 that were “game changers,” and I figured it would be cool to switch up the art style to reflect this: the first woman in space, a variation of the “I Have a Dream” speech, and \u003cem>Leave it to Beaver\u003c/em> getting canceled. I know this last one sounds small in comparison, but this cancelation has been called the “end of the ’50s” and I can see why. The Cleaver family was really the face of the media portrayal of the ’50s, and that didn’t fit into the ’60s. The illustration style of black-and-white paint on brown paper has a nostalgic sepia-toned photograph feel, whereas the following month’s stark black-and-white illustration takes the reader to a shocking image of Vietnam, which hadn’t been discussed since the first page.\u003c/p>\n\u003cp>\u003cstrong>When did you first start drawing comics?\u003c/strong>\u003c/p>\n\u003cp>I’ve drawn comic-book-style characters since I was a kid, but the first time I drew sequential art was with the \u003cem>Glamazonia\u003c/em> trade paperback, which came out seven years to the day before I sent \u003cem>1963\u003c/em> to print.\u003c/p>\n\u003cp>\u003cstrong>Which came first — drag or comics? Does one inform the other?\u003c/strong>\u003c/p>\n\u003cp>One TOTALLY informs the other. I’ve been performing in drag for eight years now and have been published in comics for seven. I’ve been reading comics since 1992 with the relaunch of \u003cem>X-Men\u003c/em> No. 1, and I had been secretly putting on my mom’s clothes since I don’t know when. Almost all my comic book characters look like drag queens, and my drag is predominately cosplay based off comics, movies, television, and books. In fact, my drag family and I are starting a cosplay drag party this month at the Stud bar called \u003ca href=\"https://www.studsf.com/new-events/https/wwwfacebookcom/events/141426746638244\" rel=\"noopener\" target=\"_blank\">BoobTube\u003c/a>.\u003c/p>\n\u003cp>RuPaul is always saying “drag doesn’t hide who you are, it reveals who you are.” Superman’s “disguise” is actually taking off his real disguise (of glasses and office-drag) and showing his true self of having superpowers and wearing his family’s crest on his chest. My drag is often political, sometimes sad, and really flamboyant, whereas day to day, I’m pretty mild-mannered.\u003c/p>\n\u003cfigure id=\"attachment_13819144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/DiegoGo%CC%81mez_TransformationTu-800x501.jpg\" alt=\"Diego Gómez both in and out of drag as Trangela Lansbury.\" width=\"800\" height=\"501\" class=\"size-medium wp-image-13819144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-1180x739.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-960x602.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-375x235.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu-520x326.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/DiegoGómez_TransformationTu.jpg 1275w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diego Gómez both in and out of drag as Trangela Lansbury. \u003ccite>(Courtesy Diego Gómez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A recurring image in \u003cem>1963\u003c/em> is the Sugar Shack. What’s up with the Sugar Shack?\u003c/strong>\u003c/p>\n\u003cp>“Sugar Shack” is a \u003ca href=\"https://www.youtube.com/watch?v=iHzjfGF6MiU\" rel=\"noopener\" target=\"_blank\">really cute song\u003c/a> recorded in 1963 by Jimmy Gilmer & The Fireballs that’s very visual, so I wrote it into the story as a cafe where one of my characters works. \u003c/p>\n\u003cp>\u003cstrong>What do you hope readers will take away from your book?\u003c/strong>\u003c/p>\n\u003cp>I hope readers will be inspired by the civil rights leaders of ’63 and take to the streets to protest, resist and vote. My title, taken from a speech by Martin Luther King, Jr. at the March on Washington, says it all: “1963 is Not an End, But a Beginning.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘1963 Is Not An End, But A Beginning’ is available locally at Mission Comics, Dog Eared Books, and Alley Cat Books, as well as Diego Gómez’s \u003ca href=\"https://www.etsy.com/shop/DesignNurd\" rel=\"noopener\" target=\"_blank\">online store\u003c/a>. See more of Diego Gómez’s work \u003ca href=\"https://www.instagram.com/DesignNurd/\" rel=\"noopener\" target=\"_blank\">on Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, we welcome back co-host and playwright A-lan Holt to begin a new year of The Do List — and we’re championing some smaller arts organizations doing exciting work. They include the Oakland Symphony with a killer program of songs, Opera Parallèle with a production for kids and adults, and Marin’s Alter Theater with two new plays.\u003c/p>\n\u003cp>Thanks so much to our South Bay Arts Reporter Rachael Myrow for filling in for me last week, as I finished a much-needed break. Enjoy the show!\u003c/p>\n\u003cp>\u003cstrong>Jan. 19\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/a-playlist-to-entice-new-listeners-to-the-oakland-symphony/\" target=\"_blank\" rel=\"noopener\">The Oakland Symphony invites W. Kamau Bell to curate a concert mixing jazz, rock and classical\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12-15\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-colorful-world-of-comic-books-discovers-the-power-of-black/\" target=\"_blank\" rel=\"noopener\">The Black Comix Arts Festival opens just as buzz builds for the Black Panther movie. \u003cem>KAPOW\u003c/em>\u003c/a>!\u003c/p>\n\u003cp>\u003cstrong>Jan. 18 & 20\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/11/an-opera-about-bullying-draws-advice-from-harriet-tubmans-spirit/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle offers a world premiere about Harriet Tubman’s spirit, with music by the Bay Area’s Marcus Shelby\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 11-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/radically-political-new-plays-from-writers-of-color/\" target=\"_blank\" rel=\"noopener\">Marin’s Alter Theater brings two plays by two brilliant young playwrights of color to A.C.T.’s Costume Shop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-friendliest-black-artist-in-america-comes-to-stanford/\" target=\"_blank\" rel=\"noopener\">William Pope.L ‘s business card says he’s the “friendliest black artist in America,” but he’s also among the most provocative\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/politics-and-dance-music-from-la-gente-and-soltron/\" target=\"_blank\" rel=\"noopener\">La Gente’s mix of cumbia, salsa, reggae and hip hop is intoxicating\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 14\u003c/strong>:\u003ca href=\"https://www.livingjazz.org/mlktribute/\" target=\"_blank\" rel=\"noopener\"> ‘In the Name of Love,’ a tribute to Martin Luther King, returns to the Scottish Rite Temple in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18\u003c/strong>: \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100167860&fa=events\" target=\"_blank\" rel=\"noopener\">Daniel Ellsberg talks about his new book \u003cem>Confessions of a Nuclear War Planner \u003c/em>at the Mechanics Institute Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 11-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/radically-political-new-plays-from-writers-of-color/\" target=\"_blank\" rel=\"noopener\">Marin’s Alter Theater brings two plays by two brilliant young playwrights of color to A.C.T.’s Costume Shop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-friendliest-black-artist-in-america-comes-to-stanford/\" target=\"_blank\" rel=\"noopener\">William Pope.L ‘s business card says he’s the “friendliest black artist in America,” but he’s also among the most provocative\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/politics-and-dance-music-from-la-gente-and-soltron/\" target=\"_blank\" rel=\"noopener\">La Gente’s mix of cumbia, salsa, reggae and hip hop is intoxicating\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 14\u003c/strong>:\u003ca href=\"https://www.livingjazz.org/mlktribute/\" target=\"_blank\" rel=\"noopener\"> ‘In the Name of Love,’ a tribute to Martin Luther King, returns to the Scottish Rite Temple in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18\u003c/strong>: \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100167860&fa=events\" target=\"_blank\" rel=\"noopener\">Daniel Ellsberg talks about his new book \u003cem>Confessions of a Nuclear War Planner \u003c/em>at the Mechanics Institute Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 'Friendliest Black Artist in America' Comes to Stanford",
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"content": "\u003cp>Wiliam Pope.L is an artist whose work a lot of people have seen, even if they haven’t heard his name: he made the giant, extra-long American flag with 51 stars and its stripes in tatters that flapped behind Kendrick Lamar as he \u003ca href=\"http://2ykov18qyj81ii56523ib0ue.wpengine.netdna-cdn.com/wp-content/uploads/2015/06/kdot-bet-awards-slide2.jpg\" rel=\"noopener\" target=\"_blank\">sang at the 2015 BET Awards\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818856\" class=\"wp-caption alignright\" style=\"max-width: 236px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818856\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/William-Pope.L..jpg\" alt=\"A print from artist William Pope.L\" width=\"236\" height=\"302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/William-Pope.L..jpg 236w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/William-Pope.L.-160x205.jpg 160w\" sizes=\"(max-width: 236px) 100vw, 236px\">\u003cfigcaption class=\"wp-caption-text\">A print from artist William Pope.L \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In some ways, that was among the most conventional of Pope.L’s works. His official business cards tease at issues about white fears of African-American men with the words “The friendliest black artist in America.” He’s also eaten — and vomited up — copies of the \u003cem>Wall Street Journal\u003c/em>, tied himself to a bank door and handed out money, and sold snowballs on the streets of New York City during winter.\u003c/p>\n\u003cp>Ha also makes makes prints of bold words on paper, like “BLACK PEOPLE ARE THE RAIN AGAINST MY WINDSHIELD” or “WHITE PEOPLE ARE MY TEARS.” As my co-host A-lan Holt says, he’s stirring up just enough controversy to jolt us all awake. You can get a taste of Pope.L’s dry humor and humanity when he gives an artist’s talk at Stanford University’s Oshman Hall on Jan. 18. Details \u003ca href=\"https://art.stanford.edu/events/intersections-recent-works-date-popel\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wiliam Pope.L is an artist whose work a lot of people have seen, even if they haven’t heard his name: he made the giant, extra-long American flag with 51 stars and its stripes in tatters that flapped behind Kendrick Lamar as he \u003ca href=\"http://2ykov18qyj81ii56523ib0ue.wpengine.netdna-cdn.com/wp-content/uploads/2015/06/kdot-bet-awards-slide2.jpg\" rel=\"noopener\" target=\"_blank\">sang at the 2015 BET Awards\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818856\" class=\"wp-caption alignright\" style=\"max-width: 236px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13818856\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/William-Pope.L..jpg\" alt=\"A print from artist William Pope.L\" width=\"236\" height=\"302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/William-Pope.L..jpg 236w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/William-Pope.L.-160x205.jpg 160w\" sizes=\"(max-width: 236px) 100vw, 236px\">\u003cfigcaption class=\"wp-caption-text\">A print from artist William Pope.L \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In some ways, that was among the most conventional of Pope.L’s works. His official business cards tease at issues about white fears of African-American men with the words “The friendliest black artist in America.” He’s also eaten — and vomited up — copies of the \u003cem>Wall Street Journal\u003c/em>, tied himself to a bank door and handed out money, and sold snowballs on the streets of New York City during winter.\u003c/p>\n\u003cp>Ha also makes makes prints of bold words on paper, like “BLACK PEOPLE ARE THE RAIN AGAINST MY WINDSHIELD” or “WHITE PEOPLE ARE MY TEARS.” As my co-host A-lan Holt says, he’s stirring up just enough controversy to jolt us all awake. You can get a taste of Pope.L’s dry humor and humanity when he gives an artist’s talk at Stanford University’s Oshman Hall on Jan. 18. Details \u003ca href=\"https://art.stanford.edu/events/intersections-recent-works-date-popel\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Journey Doesn't End in Andy Kincaid's 'Description of the Route'",
"headTitle": "Journey Doesn’t End in Andy Kincaid’s ‘Description of the Route’ | KQED",
"content": "\u003cp>Descending into Et al. gallery’s Chinatown location is always a thrilling process of discovery. Without a street-facing window (or usually any windows at all), knowledge of the particular layout of an Et al. exhibition or its contents remains unknown for the entire journey down a narrow hallway and a flight of wooden stairs. Anticipation builds in inverse proportion to the distance remaining before the big reveal.\u003c/p>\n\u003cp>Happily, in Wyoming-based artist \u003ca href=\"http://andykincaid.com/\" rel=\"noopener\" target=\"_blank\">Andy Kincaid\u003c/a>’s current solo exhibition \u003ci>\u003ca href=\"http://etaletc.com/#/galleries/1/shows/74\" rel=\"noopener\" target=\"_blank\">A Minute Description of the Route\u003c/a>\u003c/i>, the process of discovery doesn’t stop at the last wooden step. Scattered across the gallery floor and walls are objects tangentially related to journeys — historic, mythologized and contemporary — across the American continent. With the image list in hand, stepping through a maze of cast resin rattlesnakes, pieces of petrified wood, stacked chairs, inkjet prints and other detritus feels a bit like a three-dimensional \u003ci>I Spy\u003c/i> exercise. Kincaid rewards diligent looking with the oddest of treats, including a disembodied mannequin head and the artist’s own varicose leg vein.\u003c/p>\n\u003cfigure id=\"attachment_13818713\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/route26_12detail_1200.jpg\" alt=\"Andy Kincaid, Detail of 'To organize a meeting or to play Oregon Trail / understanding pathways,' 2016-17.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13818713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andy Kincaid, Detail of ‘To organize a meeting or to play Oregon Trail / understanding pathways,’ 2016-17. \u003ccite>(Courtesy of Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The installation, lit from one small window cut into the gallery’s back wall and illuminated from behind by warm yellow spotlights, sits in a perpetual golden hour. There is a beige sameness to the objects, a combination of their natural hues and the spectrum of light making them visible. A record player on the floor adds to the ambiance by looping \u003ci>Sounds of Nature Series – Prairie Spring\u003c/i>; crickets chirp. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UorIkLqVIQU\u003c/p>\n\u003cp>The most contained representation of the exhibition’s themes comes from a piece titled \u003ci>Trail Guide / 1950 California Trail miles / 2179 Appalachian Trail miles / 2170 Oregon Trail miles / understanding pathways / for Grandma Gatewood\u003c/i>. (Be forewarned, this is not the longest title in the exhibition.) A waist-high metal rack, originally made to support blueprints, clips together enlarged reproductions of pages from the 1858 book \u003ci>The National Wagon Road Guide\u003c/i> with torn-out pages from a 2010 copy of \u003ci>The Thru-hiker’s Handbook\u003c/i>, a guide to the Appalachian Trail. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This augmented book, cumbersome but still readable, literally blends the travel guides for two very different overland routes, conflating a 19th-century pioneer’s journey with a contemporary outdoors-enthusiast’s quest. As Kincaid’s work repeatedly asks through similar process of layering, what’s so different about the motivations behind past and present travels? Implicating himself in the romantic reenactment of certain cycles of migration, Kincaid juxtaposes self-perpetuating myths against the very real threats to life on a trail.\u003c/p>\n\u003cfigure id=\"attachment_13818708\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/route03_02_1200.jpg\" alt=\"Entryway installation view of 'A Minute Description of the Route.'\" width=\"1200\" height=\"817\" class=\"size-full wp-image-13818708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-1180x803.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-960x654.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-520x354.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Entryway installation view of ‘A Minute Description of the Route.’ \u003ccite>(Courtesy of Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kincaid himself is a hiker and a camper; his travels can be read in Et al.’s installation as part of his artistic practice. LED camping lanterns light the pathway to the exhibition. The stairwell is draped in an artist-made quilt (first used on the John Muir trail) and an artist-made tarp (first used on the Appalachian Trail). Inkjet prints hanging from another blueprint clamp at the top of the stairs document camping sites, traveling companions, wildernesses traversed and the stitched-up aftermath of the aforementioned varicose vein. \u003c/p>\n\u003cp>It’s this mingling of the personal and the iconographic that makes \u003ci>A Minute Description of the Route\u003c/i> such a pleasure to wander through. Inside a gun case purchased on the shoulder of Idaho’s highway 33 (the image list is rife with hyper-specific details) sits a photograph of Kincaid as a child. We learn, thanks again to the image list, that the photo was transferred from an instrument case into the gun case. \u003c/p>\n\u003cfigure id=\"attachment_13818710\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/route11_09detail_1200.jpg\" alt=\"Andy Kincaid, Detail of 'In laying a foundation for the move west / pelican case with pelican, portrait and wagon circle / mark-making on the landscape / Oregon Trail scene / Oregon Trail tool | Oregon Trail threat,' 1992-2017.\" width=\"1200\" height=\"836\" class=\"size-full wp-image-13818710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-1180x822.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-520x362.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andy Kincaid, Detail of ‘In laying a foundation for the move west / pelican case with pelican, portrait and wagon circle / mark-making on the landscape / Oregon Trail scene / Oregon Trail tool | Oregon Trail threat,’ 1992-2017. \u003ccite>(Courtesy of Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is this translation of context a metaphor for growing up, of accepting one’s mortality? Undercutting this interpretation, the gun case appears unused — the spaces carved out for rifles remain filled with foam. In another destabilizing move, Kincaid snarkily pairs the sturdy Pelican gun case with an inkjet print of a dead pelican found at the site of Robert Smithson’s \u003ci>Spiral Jetty\u003c/i>, an artful example of man’s lasting effect on the environment. \u003c/p>\n\u003cp>The dizzying number of references doesn’t stop there. In the installation that dominates the back of the gallery, \u003ci>Setting for a perpetual sunset, for hope, and for living with nature / report from the avant-garde, 1845-476 / solar print / carbon dating and a historical incongruity in weaving / crickets\u003c/i>, the titular weaving is a rug made by Kincaid and his mother, using both hand-spun and machine-spun wool. \u003c/p>\n\u003cfigure id=\"attachment_13818712\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/route14_07_1200.jpg\" alt=\"Andy Kincaid, 'Medium Snake Statue with Rabbit Foot / after Christopher Gadsgen and Benjamin Franklin / luck will have it or come and get it / Oregon Trail threat,' 2017.\" width=\"1200\" height=\"724\" class=\"size-full wp-image-13818712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-1180x712.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-960x579.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-520x314.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andy Kincaid, ‘Medium Snake Statue with Rabbit Foot / after Christopher Gadsgen and Benjamin Franklin / luck will have it or come and get it / Oregon Trail threat,’ 2017. \u003ccite>(Courtesy of Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such anachronism is only one of many ironies: images of the drab bureaucratic offices that support our beautiful national parks, the packaging up of nature sounds into a series of vinyl records, a mention of the classic computer game “Oregon Trail.” But the real strength in \u003ci>A Minute Description of the Route\u003c/i> comes from its refusal to deal solely in dichotomy, despite the two possible readings of the exhibition’s title. In doing so, Kincaid urges us to look for the tantalizing details occupying the space between the hand-made and mass-produced, humans and nature, and most importantly, between the past and present.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘A Minute Description of the Route’ is on view at Et al. in San Francisco (620 Kearny Street) through Jan. 27. For more information, \u003ca href=\"http://etaletc.com/#/galleries/1/shows/74\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"excerpt": "A solo show at Et al.'s Chinatown location fills the gallery with references to overland trails old and new.",
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"description": "A solo show at Et al.'s Chinatown location fills the gallery with references to overland trails old and new.",
"title": "Journey Doesn't End in Andy Kincaid's 'Description of the Route' | KQED",
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"headline": "Journey Doesn't End in Andy Kincaid's 'Description of the Route'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Descending into Et al. gallery’s Chinatown location is always a thrilling process of discovery. Without a street-facing window (or usually any windows at all), knowledge of the particular layout of an Et al. exhibition or its contents remains unknown for the entire journey down a narrow hallway and a flight of wooden stairs. Anticipation builds in inverse proportion to the distance remaining before the big reveal.\u003c/p>\n\u003cp>Happily, in Wyoming-based artist \u003ca href=\"http://andykincaid.com/\" rel=\"noopener\" target=\"_blank\">Andy Kincaid\u003c/a>’s current solo exhibition \u003ci>\u003ca href=\"http://etaletc.com/#/galleries/1/shows/74\" rel=\"noopener\" target=\"_blank\">A Minute Description of the Route\u003c/a>\u003c/i>, the process of discovery doesn’t stop at the last wooden step. Scattered across the gallery floor and walls are objects tangentially related to journeys — historic, mythologized and contemporary — across the American continent. With the image list in hand, stepping through a maze of cast resin rattlesnakes, pieces of petrified wood, stacked chairs, inkjet prints and other detritus feels a bit like a three-dimensional \u003ci>I Spy\u003c/i> exercise. Kincaid rewards diligent looking with the oddest of treats, including a disembodied mannequin head and the artist’s own varicose leg vein.\u003c/p>\n\u003cfigure id=\"attachment_13818713\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/route26_12detail_1200.jpg\" alt=\"Andy Kincaid, Detail of 'To organize a meeting or to play Oregon Trail / understanding pathways,' 2016-17.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13818713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route26_12detail_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andy Kincaid, Detail of ‘To organize a meeting or to play Oregon Trail / understanding pathways,’ 2016-17. \u003ccite>(Courtesy of Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The installation, lit from one small window cut into the gallery’s back wall and illuminated from behind by warm yellow spotlights, sits in a perpetual golden hour. There is a beige sameness to the objects, a combination of their natural hues and the spectrum of light making them visible. A record player on the floor adds to the ambiance by looping \u003ci>Sounds of Nature Series – Prairie Spring\u003c/i>; crickets chirp. \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/UorIkLqVIQU'\n title='//www.youtube.com/embed/UorIkLqVIQU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The most contained representation of the exhibition’s themes comes from a piece titled \u003ci>Trail Guide / 1950 California Trail miles / 2179 Appalachian Trail miles / 2170 Oregon Trail miles / understanding pathways / for Grandma Gatewood\u003c/i>. (Be forewarned, this is not the longest title in the exhibition.) A waist-high metal rack, originally made to support blueprints, clips together enlarged reproductions of pages from the 1858 book \u003ci>The National Wagon Road Guide\u003c/i> with torn-out pages from a 2010 copy of \u003ci>The Thru-hiker’s Handbook\u003c/i>, a guide to the Appalachian Trail. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This augmented book, cumbersome but still readable, literally blends the travel guides for two very different overland routes, conflating a 19th-century pioneer’s journey with a contemporary outdoors-enthusiast’s quest. As Kincaid’s work repeatedly asks through similar process of layering, what’s so different about the motivations behind past and present travels? Implicating himself in the romantic reenactment of certain cycles of migration, Kincaid juxtaposes self-perpetuating myths against the very real threats to life on a trail.\u003c/p>\n\u003cfigure id=\"attachment_13818708\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/route03_02_1200.jpg\" alt=\"Entryway installation view of 'A Minute Description of the Route.'\" width=\"1200\" height=\"817\" class=\"size-full wp-image-13818708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-1180x803.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-960x654.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route03_02_1200-520x354.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Entryway installation view of ‘A Minute Description of the Route.’ \u003ccite>(Courtesy of Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kincaid himself is a hiker and a camper; his travels can be read in Et al.’s installation as part of his artistic practice. LED camping lanterns light the pathway to the exhibition. The stairwell is draped in an artist-made quilt (first used on the John Muir trail) and an artist-made tarp (first used on the Appalachian Trail). Inkjet prints hanging from another blueprint clamp at the top of the stairs document camping sites, traveling companions, wildernesses traversed and the stitched-up aftermath of the aforementioned varicose vein. \u003c/p>\n\u003cp>It’s this mingling of the personal and the iconographic that makes \u003ci>A Minute Description of the Route\u003c/i> such a pleasure to wander through. Inside a gun case purchased on the shoulder of Idaho’s highway 33 (the image list is rife with hyper-specific details) sits a photograph of Kincaid as a child. We learn, thanks again to the image list, that the photo was transferred from an instrument case into the gun case. \u003c/p>\n\u003cfigure id=\"attachment_13818710\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/route11_09detail_1200.jpg\" alt=\"Andy Kincaid, Detail of 'In laying a foundation for the move west / pelican case with pelican, portrait and wagon circle / mark-making on the landscape / Oregon Trail scene / Oregon Trail tool | Oregon Trail threat,' 1992-2017.\" width=\"1200\" height=\"836\" class=\"size-full wp-image-13818710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-1180x822.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route11_09detail_1200-520x362.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andy Kincaid, Detail of ‘In laying a foundation for the move west / pelican case with pelican, portrait and wagon circle / mark-making on the landscape / Oregon Trail scene / Oregon Trail tool | Oregon Trail threat,’ 1992-2017. \u003ccite>(Courtesy of Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is this translation of context a metaphor for growing up, of accepting one’s mortality? Undercutting this interpretation, the gun case appears unused — the spaces carved out for rifles remain filled with foam. In another destabilizing move, Kincaid snarkily pairs the sturdy Pelican gun case with an inkjet print of a dead pelican found at the site of Robert Smithson’s \u003ci>Spiral Jetty\u003c/i>, an artful example of man’s lasting effect on the environment. \u003c/p>\n\u003cp>The dizzying number of references doesn’t stop there. In the installation that dominates the back of the gallery, \u003ci>Setting for a perpetual sunset, for hope, and for living with nature / report from the avant-garde, 1845-476 / solar print / carbon dating and a historical incongruity in weaving / crickets\u003c/i>, the titular weaving is a rug made by Kincaid and his mother, using both hand-spun and machine-spun wool. \u003c/p>\n\u003cfigure id=\"attachment_13818712\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/route14_07_1200.jpg\" alt=\"Andy Kincaid, 'Medium Snake Statue with Rabbit Foot / after Christopher Gadsgen and Benjamin Franklin / luck will have it or come and get it / Oregon Trail threat,' 2017.\" width=\"1200\" height=\"724\" class=\"size-full wp-image-13818712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-1180x712.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-960x579.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/route14_07_1200-520x314.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andy Kincaid, ‘Medium Snake Statue with Rabbit Foot / after Christopher Gadsgen and Benjamin Franklin / luck will have it or come and get it / Oregon Trail threat,’ 2017. \u003ccite>(Courtesy of Et al.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such anachronism is only one of many ironies: images of the drab bureaucratic offices that support our beautiful national parks, the packaging up of nature sounds into a series of vinyl records, a mention of the classic computer game “Oregon Trail.” But the real strength in \u003ci>A Minute Description of the Route\u003c/i> comes from its refusal to deal solely in dichotomy, despite the two possible readings of the exhibition’s title. In doing so, Kincaid urges us to look for the tantalizing details occupying the space between the hand-made and mass-produced, humans and nature, and most importantly, between the past and present.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘A Minute Description of the Route’ is on view at Et al. in San Francisco (620 Kearny Street) through Jan. 27. For more information, \u003ca href=\"http://etaletc.com/#/galleries/1/shows/74\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At BAMPFA, Portraits Tell a Story of South Africa's Past and Future",
"headTitle": "At BAMPFA, Portraits Tell a Story of South Africa’s Past and Future | KQED",
"content": "\u003cp>A newfound treat of walking up Berkeley’s three-block-short Center Street is the probability of peeking through BAMPFA’s large south-facing windows to see what’s up on the museum’s art wall. Taking up the entire first floor and dipping into the graded amphitheater of its basement, the art wall hosts commissioned murals and installations by artists from around the globe. \u003c/p>\n\u003cp>What you’ll find if you stroll by the museum until July of 2018 is a mural of four riveting larger-than-life portraits by South African illustrator and street artist Karabo Poppy Moletsane. At 25, Moletsane is the youngest artist yet to take up space on the art wall, which has featured projects by Qiu Zhijie, Lawrence Weiner and Terri Friedman.\u003c/p>\n\u003cfigure id=\"attachment_13818574\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop.jpg\" alt=\"Karabo Poppy Moletsane\" width=\"413\" height=\"420\" class=\"size-full wp-image-13818574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-240x244.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-375x381.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-64x64.jpg 64w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Karabo Poppy Moletsane \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In late November, the artist completed her portraits in warm mustards and rich blues, with a motif of organic lines that vibrate around the curves of her subject’s faces, the kinks of their hair and the folds of their clothes. “The theme that I take whenever I take photographs of people is just people I think are a good representation of where South Africa is now and where South Africa is headed as well aesthetically,” she says. \u003c/p>\n\u003cp>As such, the artist has found subjects in a fashion blogger in Johannesburg, a parishioner of the Zionist Christian Church in Pretoria, a skhothane (a member of a sartorially inclined subculture with pyromaniac tendencies who burn their barely worn designer clothes) and a sharply coiffed young man fresh out of the barbershop. Occupying most of the 60-by-25-foot wall, each of the four faces wears a focused stare, the kind demanded by an afternoon sun. \u003c/p>\n\u003cp>Moletsane explains the colorful bags under the eyes of her subjects draw a focus to their gaze and represent South Africa’s grave history of institutionalized racism and segregation. “We’re not pretending that apartheid didn’t happen,” she says, “but we’re trying to consciously be aware of the effect that it had and trying to look at a positive way to use that to then build the country as strong as it could be.” To that end, beams of light and halo-like effects emanate from her mural’s subjects.\u003c/p>\n\u003cfigure id=\"attachment_13818575\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd.jpg\" alt=\"A spread from Karabo Poppy Moletsane's 'Sho't Left,' 2014.\" width=\"600\" height=\"426\" class=\"size-full wp-image-13818575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd-520x369.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A spread from Karabo Poppy Moletsane’s ‘Sho’t Left,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moletsane’s South African identity, along with the scale and contrast required by street art, shape a great part of her work. But the root of her style lies in her fascination with the idea of an African aesthetic. She admits this is not a singular concept but rather, she explains, a collection of hybridized visual vocabularies that centralize native African culture. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I can’t say these are the characteristics of an African aesthetic but there’s one common thread and it’s being able to hybridize cultures in an authentic way and in an honoring way,” she says. Her portraits at BAMPFA are evidence of this hybridity. The images are reminiscent of barbershop and hair salon signage ubiquitous across Africa, while the halos and beams come from Christian art. \u003c/p>\n\u003cp>“I was always fascinated by the Byzantine era and a lot of the saints were show with the halos behind them,” Moletsane explains. “A lot of the people that I interviewed, I draw them because I want to be able to celebrate them. This was the way to honor the saint, so I’m doing the same thing.”\u003c/p>\n\u003cfigure id=\"attachment_13818576\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0.jpg\" alt=\"A spread from Karabo Poppy Moletsane's 'Sho't Left,' 2014.\" width=\"600\" height=\"426\" class=\"size-full wp-image-13818576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0-520x369.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A spread from Karabo Poppy Moletsane’s ‘Sho’t Left,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moletsane has made a career out of projects that center on and celebrate the people of South Africa. After completing studies in illustration and visual communication, Moletsane started her own creative house, Mother Tongue in 2014. \u003c/p>\n\u003cp>“I thought if I do the norm and go into an agency, I don’t think I’m changing [the field], I don’t think I’m adding to it. I’m just doing what every person in my position would have done,” she says. One of her first projects, a 2014 zine titled \u003ci>Sho’t Left\u003c/i>, features digitally illustrated portraits of average South African citizens — from taxi drivers and hairdressers to skhothanes.\u003c/p>\n\u003cp>The mural at BAMPFA has much in common with the images in \u003ci>Sho’t Left\u003c/i>, including a new portrait of a peacekeeper, a member South Africa’s Zion Christian Church, whose striking khaki uniforms are a common sight in the country. “It’s the most beautiful uniform that I’ve ever seen and it’s something that I’ve pretty much only seen in South Africa,” Moletsane explains. “This is a group of people I’ve never seen represented in art ever. I think this is an iconic thing to South Africa that I also wanted to celebrate.” \u003c/p>\n\u003cp>Moletsane speaks about her country with devotion — the words “honor” and “celebrate” come to her easily and in succession when talking about South Africa. That devotion radiates from her mural at BAMPFA, inspiring in both its stature and details. \u003c/p>\n\u003cp>To tell the story of South Africa, Moletsane has chosen to depict the ordinary folks. Her mural holds many lessons: authenticity can permit inspiration, the ordinary citizen is an icon worthy of celebration, and most relevant for a nation like the United States, acknowledging a national past, no matter how horrific, doesn’t impede a country’s progress or pride. In fact, it just might be essential.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Art Wall: Karabo Poppy Moletsane’ is on view at the Berkeley Art Museum and Pacific Film Archive through July 15, 2018. For more information, \u003ca href=\"https://bampfa.org/program/art-wall-karabo-poppy-moletsane\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A newfound treat of walking up Berkeley’s three-block-short Center Street is the probability of peeking through BAMPFA’s large south-facing windows to see what’s up on the museum’s art wall. Taking up the entire first floor and dipping into the graded amphitheater of its basement, the art wall hosts commissioned murals and installations by artists from around the globe. \u003c/p>\n\u003cp>What you’ll find if you stroll by the museum until July of 2018 is a mural of four riveting larger-than-life portraits by South African illustrator and street artist Karabo Poppy Moletsane. At 25, Moletsane is the youngest artist yet to take up space on the art wall, which has featured projects by Qiu Zhijie, Lawrence Weiner and Terri Friedman.\u003c/p>\n\u003cfigure id=\"attachment_13818574\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop.jpg\" alt=\"Karabo Poppy Moletsane\" width=\"413\" height=\"420\" class=\"size-full wp-image-13818574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-240x244.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-375x381.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-64x64.jpg 64w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Karabo Poppy Moletsane \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In late November, the artist completed her portraits in warm mustards and rich blues, with a motif of organic lines that vibrate around the curves of her subject’s faces, the kinks of their hair and the folds of their clothes. “The theme that I take whenever I take photographs of people is just people I think are a good representation of where South Africa is now and where South Africa is headed as well aesthetically,” she says. \u003c/p>\n\u003cp>As such, the artist has found subjects in a fashion blogger in Johannesburg, a parishioner of the Zionist Christian Church in Pretoria, a skhothane (a member of a sartorially inclined subculture with pyromaniac tendencies who burn their barely worn designer clothes) and a sharply coiffed young man fresh out of the barbershop. Occupying most of the 60-by-25-foot wall, each of the four faces wears a focused stare, the kind demanded by an afternoon sun. \u003c/p>\n\u003cp>Moletsane explains the colorful bags under the eyes of her subjects draw a focus to their gaze and represent South Africa’s grave history of institutionalized racism and segregation. “We’re not pretending that apartheid didn’t happen,” she says, “but we’re trying to consciously be aware of the effect that it had and trying to look at a positive way to use that to then build the country as strong as it could be.” To that end, beams of light and halo-like effects emanate from her mural’s subjects.\u003c/p>\n\u003cfigure id=\"attachment_13818575\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd.jpg\" alt=\"A spread from Karabo Poppy Moletsane's 'Sho't Left,' 2014.\" width=\"600\" height=\"426\" class=\"size-full wp-image-13818575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd-520x369.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A spread from Karabo Poppy Moletsane’s ‘Sho’t Left,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moletsane’s South African identity, along with the scale and contrast required by street art, shape a great part of her work. But the root of her style lies in her fascination with the idea of an African aesthetic. She admits this is not a singular concept but rather, she explains, a collection of hybridized visual vocabularies that centralize native African culture. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I can’t say these are the characteristics of an African aesthetic but there’s one common thread and it’s being able to hybridize cultures in an authentic way and in an honoring way,” she says. Her portraits at BAMPFA are evidence of this hybridity. The images are reminiscent of barbershop and hair salon signage ubiquitous across Africa, while the halos and beams come from Christian art. \u003c/p>\n\u003cp>“I was always fascinated by the Byzantine era and a lot of the saints were show with the halos behind them,” Moletsane explains. “A lot of the people that I interviewed, I draw them because I want to be able to celebrate them. This was the way to honor the saint, so I’m doing the same thing.”\u003c/p>\n\u003cfigure id=\"attachment_13818576\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0.jpg\" alt=\"A spread from Karabo Poppy Moletsane's 'Sho't Left,' 2014.\" width=\"600\" height=\"426\" class=\"size-full wp-image-13818576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0-520x369.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A spread from Karabo Poppy Moletsane’s ‘Sho’t Left,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moletsane has made a career out of projects that center on and celebrate the people of South Africa. After completing studies in illustration and visual communication, Moletsane started her own creative house, Mother Tongue in 2014. \u003c/p>\n\u003cp>“I thought if I do the norm and go into an agency, I don’t think I’m changing [the field], I don’t think I’m adding to it. I’m just doing what every person in my position would have done,” she says. One of her first projects, a 2014 zine titled \u003ci>Sho’t Left\u003c/i>, features digitally illustrated portraits of average South African citizens — from taxi drivers and hairdressers to skhothanes.\u003c/p>\n\u003cp>The mural at BAMPFA has much in common with the images in \u003ci>Sho’t Left\u003c/i>, including a new portrait of a peacekeeper, a member South Africa’s Zion Christian Church, whose striking khaki uniforms are a common sight in the country. “It’s the most beautiful uniform that I’ve ever seen and it’s something that I’ve pretty much only seen in South Africa,” Moletsane explains. “This is a group of people I’ve never seen represented in art ever. I think this is an iconic thing to South Africa that I also wanted to celebrate.” \u003c/p>\n\u003cp>Moletsane speaks about her country with devotion — the words “honor” and “celebrate” come to her easily and in succession when talking about South Africa. That devotion radiates from her mural at BAMPFA, inspiring in both its stature and details. \u003c/p>\n\u003cp>To tell the story of South Africa, Moletsane has chosen to depict the ordinary folks. Her mural holds many lessons: authenticity can permit inspiration, the ordinary citizen is an icon worthy of celebration, and most relevant for a nation like the United States, acknowledging a national past, no matter how horrific, doesn’t impede a country’s progress or pride. In fact, it just might be essential.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Art Wall: Karabo Poppy Moletsane’ is on view at the Berkeley Art Museum and Pacific Film Archive through July 15, 2018. For more information, \u003ca href=\"https://bampfa.org/program/art-wall-karabo-poppy-moletsane\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How to Start a Year of Bay Area Art Off Right",
"headTitle": "How to Start a Year of Bay Area Art Off Right | KQED",
"content": "\u003cp>Welcome to the future! Last year I took the liberty of writing us \u003ca href=\"https://ww2.kqed.org/arts/2017/01/03/a-new-years-resolution-for-the-bay-area-art-scene/\" rel=\"noopener\" target=\"_blank\">a mutual New Year’s resolution\u003c/a>, which I’m sure you completely stuck with. Remember? We vowed to show up more, to support the local art scene by being genuinely interested in it — and not just in a double-tap-that-Instagram-image kind of way?\u003c/p>\n\u003cp>After weeks of near-hibernation, too much holiday food, hours of travel and an overload of whatever Netflix program you’ve binge-watched to death, I’m psyched to re-up that commitment with you. Without further ado, I present a few events small enough to actually force face-to-face conversations, where you can start a new year of art off right:\u003c/p>\n\u003cfigure id=\"attachment_13818545\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-T%C3%B6dliche-Doris-Kopie_400.jpg\" alt=\"\" width=\"400\" height=\"283\" class=\"size-full wp-image-13818545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-Tödliche-Doris-Kopie_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-Tödliche-Doris-Kopie_400-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-Tödliche-Doris-Kopie_400-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-Tödliche-Doris-Kopie_400-375x265.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Die Tödliche Doris in the form of allegorical characters at the Festival Genialer Dilletanten (sic) Tempodrom, West Berlin, 1981. \u003ccite>(Photo: H. Blohm, archive, Die Tödliche Doris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>‘Brilliant Dilletantes — Subculture in Germany in the 1980s’\u003c/h3>\n\u003ch5>Jan. 5–27\u003cbr>\nPro Arts, Oakland\u003c/h5>\n\u003cp>A traveling exhibition sponsored by the Goethe-Institut San Francisco fills Oakland’s Pro Arts with photographs, films, zines and noise from a brief era of renegade gatherings and experimental production in East and West Germany. Highlighting the bands, artists, filmmakers and designers who rejected craftsmanship in favor of genre-crossing, purposely provocative aesthetics, the show includes a screening of \u003ci>Punk Berlin 1982\u003c/i> (a dramatization of one punk’s introduction to the West Berlin scene) and, for some local flavor, performances by Bay Area bands like Moira Scar and Bonus Beast throughout the month. \u003ca href=\"https://proartsgallery.org/event/brilliant-diletantes-subculture-in-germany-in-the-1980s/\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13818547\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400.jpg\" alt=\"Blanca Estela Rodriguez, 'Hye Yang,' 2016. Rodriguez is a current studio artist and former Root Division Latinx Teaching Artist Fellow.\" width=\"400\" height=\"400\" class=\"size-full wp-image-13818547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Blanca Estela Rodriguez, ‘Hye Yang,’ 2016. Rodriguez is a current studio artist and former Root Division Latinx Teaching Artist Fellow. \u003ccite>(Courtesy of Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Root Division Turns 15\u003c/h3>\n\u003ch5>Jan. 10–Feb. 10; Celebration & exhibition opening Jan. 13, 7–10pm\u003cbr>\nRoot Division, San Francisco\u003c/h5>\n\u003cp>Befitting its hybrid nature as “alternative space, commercial gallery, art center and studio facility,” San Francisco’s Root Division celebrates 15 years of existence this month with an exhibition, publication, performance night (Feb. 10) and a box set of prints. The exhibition features (naturally) 15 artists still deeply involved in Root Division’s programming and community, including personal favorites Dana Hemenway, Cathy Lu, Whitney Lynn and Chris Thorson. Come wish them happy birthday! \u003ca href=\"https://rootdivision.org/15-year-anniversary-celebration\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13818475\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Capron_400.png\" alt=\"Work by Maria Guzmán Capron.\" width=\"400\" height=\"450\" class=\"size-full wp-image-13818475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Capron_400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Capron_400-160x180.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Capron_400-240x270.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Capron_400-375x422.png 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Work by Maria Guzmán Capron. \u003ccite>(Courtesy of R/SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Maria Guzmán Capron, ‘Desdoblé’\u003c/h3>\n\u003ch5>Jan. 12–Feb. 4\u003cbr>\nR/SF projects, San Francisco\u003c/h5>\n\u003cp>The energetic Lower Nob Hill gallery R/SF projects rings in a new year of programming with an exhibition from Berkeley-based Maria Guzmán Capron, a versatile artist seemingly just as skilled in engineering stuffed textiles as she is in creating eerie yet folksy ceramics. In her first solo since her 2015 show \u003ci>She Bop\u003c/i> at City Limits, expect a variety of textures and materials (including carpets), rewards for sustained viewing and exploration (desdoblé means “unfold” in Spanish) and surreal, alien-like figures the gallery describes as “hyperbolic.” Yes please. \u003ca href=\"http://rsfprojects.com/\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13818482\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400.jpg\" alt=\"Still from Jeremy Rourke's 'I'll Be Around.'\" width=\"400\" height=\"266\" class=\"size-full wp-image-13818482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400-375x249.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jeremy Rourke’s ‘I’ll Be Around.’ \u003ccite>(Courtesy of ATA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Jeremy Rourke, ‘I’ll Be Around’\u003c/h3>\n\u003ch5>Jan. 12, 5–6pm\u003cbr>\nUntitled Art Fair, Palace of Fine Arts Theater, San Francisco\u003c/h5>\n\u003cp>This year’s Untitled art fair brings more than 50 arts institutions together for the purposes of selling art — and also hosts a bevy of performances, screenings and conversations well worth your while. Find me at Jeremy Rourke’s expanded cinema, music and performance piece \u003ci>I’ll Be Around\u003c/i>, the culmination of his year-long residency-slash-collaboration with Artists’ Television Access. From the clips I’ve seen of this work performed at the end of 2017, we’re in for a treat. \u003ca href=\"https://untitledartfairs.com/san-francisco/program/event/01-12-2018?\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>. \u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13818548\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400.jpg\" alt=\"100 percent of the benefit's proceeds go to organizations aiding victims of the North Bay fires. \" width=\"400\" height=\"400\" class=\"size-full wp-image-13818548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">100 percent of the benefit’s proceeds go to organizations aiding victims of the North Bay fires.\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Art Gives Back\u003c/h3>\n\u003ch5>Jan. 21, 4–8pm\u003cbr>\nMinnesota Street Project, San Francisco\u003c/h5>\n\u003cp>After last year’s devastating North Bay fires, members of the Bay Area art community began organizing a fundraiser for the region’s most vulnerable victims. The fruit of those labors is Art Gives Back, a one-night event set to include an auction, music, performances, karaoke, food, drinks and the promise of “more,” though what else could be packed into four hours, I’m not sure. All the proceeds from the night will go to UndocuFund and the Latino Community Foundation, organizations providing support to farm workers and immigrant families in Sonoma, Calistoga and Santa Rosa. Tickets to Art Gives Back are just $20, and even though the specifics of whose art, what music and which karaoke songs will be available are still undisclosed, there’s no doubt it will be $20 well spent. \u003ca href=\"https://www.artgivesback.org/\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>. \u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to the future! Last year I took the liberty of writing us \u003ca href=\"https://ww2.kqed.org/arts/2017/01/03/a-new-years-resolution-for-the-bay-area-art-scene/\" rel=\"noopener\" target=\"_blank\">a mutual New Year’s resolution\u003c/a>, which I’m sure you completely stuck with. Remember? We vowed to show up more, to support the local art scene by being genuinely interested in it — and not just in a double-tap-that-Instagram-image kind of way?\u003c/p>\n\u003cp>After weeks of near-hibernation, too much holiday food, hours of travel and an overload of whatever Netflix program you’ve binge-watched to death, I’m psyched to re-up that commitment with you. Without further ado, I present a few events small enough to actually force face-to-face conversations, where you can start a new year of art off right:\u003c/p>\n\u003cfigure id=\"attachment_13818545\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-T%C3%B6dliche-Doris-Kopie_400.jpg\" alt=\"\" width=\"400\" height=\"283\" class=\"size-full wp-image-13818545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-Tödliche-Doris-Kopie_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-Tödliche-Doris-Kopie_400-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-Tödliche-Doris-Kopie_400-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-Tödliche-Doris-Kopie_400-375x265.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Die Tödliche Doris in the form of allegorical characters at the Festival Genialer Dilletanten (sic) Tempodrom, West Berlin, 1981. \u003ccite>(Photo: H. Blohm, archive, Die Tödliche Doris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>‘Brilliant Dilletantes — Subculture in Germany in the 1980s’\u003c/h3>\n\u003ch5>Jan. 5–27\u003cbr>\nPro Arts, Oakland\u003c/h5>\n\u003cp>A traveling exhibition sponsored by the Goethe-Institut San Francisco fills Oakland’s Pro Arts with photographs, films, zines and noise from a brief era of renegade gatherings and experimental production in East and West Germany. Highlighting the bands, artists, filmmakers and designers who rejected craftsmanship in favor of genre-crossing, purposely provocative aesthetics, the show includes a screening of \u003ci>Punk Berlin 1982\u003c/i> (a dramatization of one punk’s introduction to the West Berlin scene) and, for some local flavor, performances by Bay Area bands like Moira Scar and Bonus Beast throughout the month. \u003ca href=\"https://proartsgallery.org/event/brilliant-diletantes-subculture-in-germany-in-the-1980s/\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13818547\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400.jpg\" alt=\"Blanca Estela Rodriguez, 'Hye Yang,' 2016. Rodriguez is a current studio artist and former Root Division Latinx Teaching Artist Fellow.\" width=\"400\" height=\"400\" class=\"size-full wp-image-13818547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Blanca Estela Rodriguez, ‘Hye Yang,’ 2016. Rodriguez is a current studio artist and former Root Division Latinx Teaching Artist Fellow. \u003ccite>(Courtesy of Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Root Division Turns 15\u003c/h3>\n\u003ch5>Jan. 10–Feb. 10; Celebration & exhibition opening Jan. 13, 7–10pm\u003cbr>\nRoot Division, San Francisco\u003c/h5>\n\u003cp>Befitting its hybrid nature as “alternative space, commercial gallery, art center and studio facility,” San Francisco’s Root Division celebrates 15 years of existence this month with an exhibition, publication, performance night (Feb. 10) and a box set of prints. The exhibition features (naturally) 15 artists still deeply involved in Root Division’s programming and community, including personal favorites Dana Hemenway, Cathy Lu, Whitney Lynn and Chris Thorson. Come wish them happy birthday! \u003ca href=\"https://rootdivision.org/15-year-anniversary-celebration\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13818475\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Capron_400.png\" alt=\"Work by Maria Guzmán Capron.\" width=\"400\" height=\"450\" class=\"size-full wp-image-13818475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Capron_400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Capron_400-160x180.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Capron_400-240x270.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Capron_400-375x422.png 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Work by Maria Guzmán Capron. \u003ccite>(Courtesy of R/SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Maria Guzmán Capron, ‘Desdoblé’\u003c/h3>\n\u003ch5>Jan. 12–Feb. 4\u003cbr>\nR/SF projects, San Francisco\u003c/h5>\n\u003cp>The energetic Lower Nob Hill gallery R/SF projects rings in a new year of programming with an exhibition from Berkeley-based Maria Guzmán Capron, a versatile artist seemingly just as skilled in engineering stuffed textiles as she is in creating eerie yet folksy ceramics. In her first solo since her 2015 show \u003ci>She Bop\u003c/i> at City Limits, expect a variety of textures and materials (including carpets), rewards for sustained viewing and exploration (desdoblé means “unfold” in Spanish) and surreal, alien-like figures the gallery describes as “hyperbolic.” Yes please. \u003ca href=\"http://rsfprojects.com/\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13818482\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400.jpg\" alt=\"Still from Jeremy Rourke's 'I'll Be Around.'\" width=\"400\" height=\"266\" class=\"size-full wp-image-13818482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400-375x249.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jeremy Rourke’s ‘I’ll Be Around.’ \u003ccite>(Courtesy of ATA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Jeremy Rourke, ‘I’ll Be Around’\u003c/h3>\n\u003ch5>Jan. 12, 5–6pm\u003cbr>\nUntitled Art Fair, Palace of Fine Arts Theater, San Francisco\u003c/h5>\n\u003cp>This year’s Untitled art fair brings more than 50 arts institutions together for the purposes of selling art — and also hosts a bevy of performances, screenings and conversations well worth your while. Find me at Jeremy Rourke’s expanded cinema, music and performance piece \u003ci>I’ll Be Around\u003c/i>, the culmination of his year-long residency-slash-collaboration with Artists’ Television Access. From the clips I’ve seen of this work performed at the end of 2017, we’re in for a treat. \u003ca href=\"https://untitledartfairs.com/san-francisco/program/event/01-12-2018?\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>. \u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13818548\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400.jpg\" alt=\"100 percent of the benefit's proceeds go to organizations aiding victims of the North Bay fires. \" width=\"400\" height=\"400\" class=\"size-full wp-image-13818548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">100 percent of the benefit’s proceeds go to organizations aiding victims of the North Bay fires.\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Art Gives Back\u003c/h3>\n\u003ch5>Jan. 21, 4–8pm\u003cbr>\nMinnesota Street Project, San Francisco\u003c/h5>\n\u003cp>After last year’s devastating North Bay fires, members of the Bay Area art community began organizing a fundraiser for the region’s most vulnerable victims. The fruit of those labors is Art Gives Back, a one-night event set to include an auction, music, performances, karaoke, food, drinks and the promise of “more,” though what else could be packed into four hours, I’m not sure. All the proceeds from the night will go to UndocuFund and the Latino Community Foundation, organizations providing support to farm workers and immigrant families in Sonoma, Calistoga and Santa Rosa. Tickets to Art Gives Back are just $20, and even though the specifics of whose art, what music and which karaoke songs will be available are still undisclosed, there’s no doubt it will be $20 well spent. \u003ca href=\"https://www.artgivesback.org/\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>. \u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Rachael Myrow here, pinch hitting for Cy Musiker at the start of 2018. Naturally, I picked a co-host from San Jose to talk about the upcoming concerts and exhibitions we’re most excited about now: Trami Nguyen Cron, author of the book \u003ca href=\"http://www.vietnameazy.com\" target=\"_blank\" rel=\"noopener\">VietnamEazy\u003c/a>, and founder of \u003ca href=\"http://www.chopsticksalley.com\" target=\"_blank\" rel=\"noopener\">Chopsticks Alley\u003c/a>, a non-profit organization featuring Southeast Asian Artists in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/comedy-of-every-stripe-at-sf-sketchfest/\" rel=\"noopener\" target=\"_blank\">Gorge Yourself on Comedy of Every Stripe at SF Sketchfest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 19:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/st-louis-symphony-on-maestros-swan-song-tour/\" rel=\"noopener\" target=\"_blank\">The St. Louis Symphony Goes on Maestro’s Swan Song Tour, Stops at Stanford\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–28: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/african-american-composers-initiative-a-local-musical-gem/\" rel=\"noopener\" target=\"_blank\">The African American Composers Initiative is a Local Musical Gem\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 27–Mar. 25:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/the-propeller-group-brings-an-artistic-view-of-vietnam-to-san-jose/\" rel=\"noopener\" target=\"_blank\">The Propeller Group Explores Vietnam at San Jose Museum of Art\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nov.3–Feb 4:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/korean-couture-pops-on-world-stage/\" rel=\"noopener\" target=\"_blank\">Korean Couture Pops on the World Stage\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachael Myrow here, pinch hitting for Cy Musiker at the start of 2018. Naturally, I picked a co-host from San Jose to talk about the upcoming concerts and exhibitions we’re most excited about now: Trami Nguyen Cron, author of the book \u003ca href=\"http://www.vietnameazy.com\" target=\"_blank\" rel=\"noopener\">VietnamEazy\u003c/a>, and founder of \u003ca href=\"http://www.chopsticksalley.com\" target=\"_blank\" rel=\"noopener\">Chopsticks Alley\u003c/a>, a non-profit organization featuring Southeast Asian Artists in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/comedy-of-every-stripe-at-sf-sketchfest/\" rel=\"noopener\" target=\"_blank\">Gorge Yourself on Comedy of Every Stripe at SF Sketchfest\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 19:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/st-louis-symphony-on-maestros-swan-song-tour/\" rel=\"noopener\" target=\"_blank\">The St. Louis Symphony Goes on Maestro’s Swan Song Tour, Stops at Stanford\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–28: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/african-american-composers-initiative-a-local-musical-gem/\" rel=\"noopener\" target=\"_blank\">The African American Composers Initiative is a Local Musical Gem\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 27–Mar. 25:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/03/the-propeller-group-brings-an-artistic-view-of-vietnam-to-san-jose/\" rel=\"noopener\" target=\"_blank\">The Propeller Group Explores Vietnam at San Jose Museum of Art\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://www.the-propeller-group.com\" target=\"_blank\" rel=\"noopener noreferrer\">The Propeller Group\u003c/a> was established in 2006 as a cross-disciplinary art collective. With backgrounds in visual art, film, and video, Phunam, Matt Lucero, and Tuan Andrew Nguyen produce work themselves and collaborate with others from their dual headquarters in Ho Chi Minh City and Los Angeles.\u003c/p>\n\u003cp>They’ve shown work all over the globe and now they’re at the \u003ca href=\"https://sjmusart.org/exhibition/propeller-group\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a> with a provocative survey of projects including video, installation, and sculptural works. One highlight of the exhibition is \u003ci>The Living Need Light, the Dead Need Music, \u003c/i>a short film journeying through the funeral traditions and rituals of south Vietnam.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=oxiyEp1xtXA]\u003c/p>\n\u003cp>In collaboration with internationally acclaimed graffiti writer El Mac and local artists, the Propeller Group also presented a new public mural at the Children’s Discovery Museum in downtown San Jose in collaboration with El Mac, a public artist based in Los Angeles.\u003c/p>\n\u003cp>The Propeller Group at the San Jose Museum of Art continues through March 25. \u003ca href=\"https://sjmusart.org/exhibition/propeller-group\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Museum Gives Hip-Hop the Respect it's Earned",
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"content": "\u003cp>We’re looking ahead this week on The Do List to a few exhibitions we’re excited about in 2018, among them \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>, opening in March at the Oakland Museum of California (OMCA). \u003cem>Respect\u003c/em> is part of a trend at the Oakland Museum and other institutions to take serious looks at pop culture. (OMCA presented a show about sneakers recently.)\u003c/p>\n\u003cp>“Hip-hop is misunderstood,” OMCA Senior Curator René de Guzman says, “that it’s all about gangsterism and misogyny. There are elements of that, just as there are negative elements in any cultural form or social group. The other misunderstanding is that hip-hop is simply a music genre, but it extends beyond that to include not only other art forms but principles, values and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13817929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg\" alt=\"Young Boys. 1981. East Flatbush an image from OMCA's upcoming show about hip hop\" width=\"800\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1920x1661.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-520x450.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Boys. 1981, East Flatbush. Image from OMCA’s upcoming show about hip-hop. \u003ccite>(Photo: Jamel Shabazz/OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So the exhibit, de Guzman says, will dig deep into hip-hop’s message of authenticity and political activism, with input from Bay Area icons like Oakland rapper and scholar Mystic and the Hip-Hop Chess Federation’s Adisa Banjoko.\u003c/p>\n\u003cp>My colleague Gabe Meline notes that the show promises to cover the music “beyond big business.” So he’s keen to see how the exhibition covers hustling pioneers like Heiroglyphics and Too Short, who sold tapes out of their trunks in Oakland to build their empires. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CkrdiABTcaI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re looking ahead this week on The Do List to a few exhibitions we’re excited about in 2018, among them \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>, opening in March at the Oakland Museum of California (OMCA). \u003cem>Respect\u003c/em> is part of a trend at the Oakland Museum and other institutions to take serious looks at pop culture. (OMCA presented a show about sneakers recently.)\u003c/p>\n\u003cp>“Hip-hop is misunderstood,” OMCA Senior Curator René de Guzman says, “that it’s all about gangsterism and misogyny. There are elements of that, just as there are negative elements in any cultural form or social group. The other misunderstanding is that hip-hop is simply a music genre, but it extends beyond that to include not only other art forms but principles, values and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13817929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg\" alt=\"Young Boys. 1981. East Flatbush an image from OMCA's upcoming show about hip hop\" width=\"800\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1920x1661.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-520x450.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Boys. 1981, East Flatbush. Image from OMCA’s upcoming show about hip-hop. \u003ccite>(Photo: Jamel Shabazz/OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So the exhibit, de Guzman says, will dig deep into hip-hop’s message of authenticity and political activism, with input from Bay Area icons like Oakland rapper and scholar Mystic and the Hip-Hop Chess Federation’s Adisa Banjoko.\u003c/p>\n\u003cp>My colleague Gabe Meline notes that the show promises to cover the music “beyond big business.” So he’s keen to see how the exhibition covers hustling pioneers like Heiroglyphics and Too Short, who sold tapes out of their trunks in Oakland to build their empires. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\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/CkrdiABTcaI'\n title='//www.youtube.com/embed/CkrdiABTcaI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "In Pictures: Sharon Jones Remembered",
"headTitle": "In Pictures: Sharon Jones Remembered | KQED",
"content": "\u003cp>\u003ca href=\"http://www.33-13.com/\">\u003cem>Jacob Blickenstaff\u003c/em>\u003c/a>\u003cem> is a New York-based music photographer who worked with Sharon Jones and The Dap-Kings extensively since 2009. Here, he shares archival shots of the dearly departed star. Jones’ posthumous album with The Dap-Kings, \u003c/em>Soul of a Woman\u003cem>, was \u003c/em>\u003ca href=\"http://dapt.one/soulofawoman\">\u003cem>released by Daptone Records\u003c/em>\u003c/a>\u003cem> in November.\u003c/em>\u003c/p>\n\u003cp>With a lot of other musical subjects, you wait for the opportunities to show them in the best moments. In a fleeting gesture, they might reveal themselves subconsciously. But \u003ca href=\"https://www.npr.org/artists/15325312/sharon-jones\">Sharon Jones\u003c/a> beamed who she was right at you, from the first minute to the last. It was more about rising to her level of commitment and the way she gave herself over to the music. You had to keep up with her. She was going to give you a lot, but you had to act fast in order to gather and distill as much of that energy into a photograph as you could.\u003c/p>\n\u003cp>As many of her friends and bandmates did, I loved Sharon. I think my deepest motivation was to be a witness of who she was and reflect it back to her in pictures. I’m proud to have worked on several album covers and publicity portraits for Daptone, but a deeper personal current ran beneath it all. We weren’t close socially, we didn’t correspond or talk on the phone, but I always felt an intimacy when I was around her, and she seemed to understand what I was doing. I remember meeting her backstage after not seeing her for a while and she said matter-of-factly, “Oh, it’s Jacob with the pictures.”\u003c/p>\n\u003cfigure id=\"attachment_13817866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817866\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2009, Highline Ballroom\u003c/strong> — Sharon Jones and The Dap-Kings performing. This was the first time photographing them and I was lucky to catch them in a smaller room.\u003c/p>\n\u003cfigure id=\"attachment_13817867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817867\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2009, Brooklyn Bowl\u003c/strong> — As a regular part of Sharon’s show she’d invite people up to dance with her. Sometimes her dancing partners were a little awkward, but she loved the interaction and the exchange of energy directly with fans.\u003c/p>\n\u003cfigure id=\"attachment_13817868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817868\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>August, 2012, Williamsburg Waterfront \u003c/strong>— This image really captures her sassy command of the stage. I remember the excitement of shooting from the stage; it allowed me to sense the relationship of her with her audience and when the band was locked in with her I could sync up with their energy and document the experience from within.\u003c/p>\n\u003cfigure id=\"attachment_13817869\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-520x522.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-150x150.jpg 150w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March, 2013, New York\u003c/strong> — This was from a promotional portrait shoot commissioned by the label. The work stayed in the can for several years, as right after this Sharon got her cancer diagnosis and took the better part of a year for treatment. Someone had the good sense to go out and buy some flowers, which really softened up the image. By default, I always directed Sharon to look tough, but being more comfortable with each other I became aware of a very sweet side of her, and remember the quiet intimacy of that day.\u003c/p>\n\u003cfigure id=\"attachment_13817870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817870\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2014, Beacon Theater\u003c/strong> — I didn’t really know about Sharon’s spiritual dimension until the time of this picture. I learned that leading up to a performance, Starr Duncan (left) and Saundra Williams (right) would often say a prayer together with Sharon, which was an important part of focusing the emotional energy that she would bring to her performances.\u003c/p>\n\u003cfigure id=\"attachment_13817871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-800x538.jpg\" alt=\"\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon, and nearly the entire Daptone roster, returned to the Apollo Theater for three nights, for the “Daptone Super Soul Revue.” My most personal memories of Sharon are being one-on-one with her in her dressing room. I’m very humbled that she’d let me in to that space. I felt fully accepted, and I hope she felt fully seen.\u003c/p>\n\u003cfigure id=\"attachment_13817872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-1020x742.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-1180x859.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-960x699.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-520x378.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — A sequence shot on film. Her performances were so physical, I was always looking for the subtleties (and not-so-subtleties) of her body language.\u003c/p>\n\u003cfigure id=\"attachment_13817873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon doing what she did best: working a room.\u003c/p>\n\u003cfigure id=\"attachment_13817874\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-520x356.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — A multiple-exposure image. With a big group like the Dap-Kings, it’s hard to get all of them in a live photo and at the same time do justice to Sharon’s energy. But Sharon and the Dap-Kings have a very symbiotic relationship, they rose to match Sharon’s performance, and Sharon operated at her peak because of their musical excellence. The whole is greater than the sum of the parts.\u003c/p>\n\u003cfigure id=\"attachment_13817875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817875\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon was always humble, but in this case was deservedly proud over the news. The day of one of the Apollo shows, it was announced that \u003cem>Give The People What They Want \u003c/em>was nominated for a Grammy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13817876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-375x380.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-520x527.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-96x96.jpg 96w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/p>\n\u003cp>\u003cstrong>March, 2015\u003c/strong> — This is an outtake from the album cover shoot for \u003cem>It’s a Holiday Soul Party\u003c/em>. She was never a diva on set, but I remember that at this point of the shoot she was improvising lyrics to the effect of: “Let’s get this damn photo over so we can eat lunch.”\u003c/p>\n\u003cfigure id=\"attachment_13817877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-800x596.jpg\" alt=\"\" width=\"800\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-1180x880.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-960x716.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-520x388.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2016, Madison Square Garden\u003c/strong> — The band was opening for Daryl Hall and John Oates. In the green room, around her band, management and close friends, she was a very playful and funny person.\u003c/p>\n\u003cfigure id=\"attachment_13817878\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817878\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2016, Madison Square Garden\u003c/strong> — Sharon as seen between Joey Crispiano (left) and Gabe Roth (right).\u003c/p>\n\u003cfigure id=\"attachment_13817882\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"1048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-520x779.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July, 2016, Tinley Park, Illinois\u003c/strong> — An unglamorous dressing trailer in back of a very hot, outdoor venue in Indiana. This one’s hard to talk about because it was the last time I had a private moment with her. I was in quiet awe being there with her as she transformed for the stage. She was speaking quietly about wanting to leave behind as much as she could musically for her fans, her band and her label. She was pushing for everyone else from a place of deep-selflessness and generosity.\u003c/p>\n\u003cfigure id=\"attachment_13817881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July, 2016, Tinley Park, Illinois\u003c/strong> — On tour with Daryl Hall and John Oates, the Dap-Kings convinced Oates to perform an obscure single he had cut as a teenager in Philadelphia called “I Need Your Love.” The band learned the music and they rehearsed it at soundcheck to perform that night as a duet. It was a moment of pure fun for the band and Sharon.\u003c/p>\n\u003cfigure id=\"attachment_13817879\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817879\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June, 2016, Celebrate Brooklyn! Festival\u003c/strong> — When I came to this show, I wasn’t sure if I was going to photograph it or just hang out. Sometimes it’s easy to rest and think that I’ve made enough pictures of Sharon performing, but there was something special about this show, Sharon and the band were just ferocious. It was an important lesson: if Sharon can push herself like that every time, then I should get off my butt whenever I think what I’ve already done is “good enough.”\u003c/p>\n\u003cfigure id=\"attachment_13817880\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817880\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-520x347.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>June, 2016, Celebrate Brooklyn! Festival\u003c/strong> — After the show, Sharon (Jones) met with Sharon (Van Etten). This photo reminds me that every musician that I’ve talked with about Sharon has a tremendous respect for her. Almost universally, they knew she was the real thing and how much it took to do what she did.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Pictures%3A+Sharon+Jones+Remembered&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Photographer Jacob Blickenstaff documented Sharon Jones for years both on- and off-stage. Here, he shares archival shots of the dearly departed star.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.33-13.com/\">\u003cem>Jacob Blickenstaff\u003c/em>\u003c/a>\u003cem> is a New York-based music photographer who worked with Sharon Jones and The Dap-Kings extensively since 2009. Here, he shares archival shots of the dearly departed star. Jones’ posthumous album with The Dap-Kings, \u003c/em>Soul of a Woman\u003cem>, was \u003c/em>\u003ca href=\"http://dapt.one/soulofawoman\">\u003cem>released by Daptone Records\u003c/em>\u003c/a>\u003cem> in November.\u003c/em>\u003c/p>\n\u003cp>With a lot of other musical subjects, you wait for the opportunities to show them in the best moments. In a fleeting gesture, they might reveal themselves subconsciously. But \u003ca href=\"https://www.npr.org/artists/15325312/sharon-jones\">Sharon Jones\u003c/a> beamed who she was right at you, from the first minute to the last. It was more about rising to her level of commitment and the way she gave herself over to the music. You had to keep up with her. She was going to give you a lot, but you had to act fast in order to gather and distill as much of that energy into a photograph as you could.\u003c/p>\n\u003cp>As many of her friends and bandmates did, I loved Sharon. I think my deepest motivation was to be a witness of who she was and reflect it back to her in pictures. I’m proud to have worked on several album covers and publicity portraits for Daptone, but a deeper personal current ran beneath it all. We weren’t close socially, we didn’t correspond or talk on the phone, but I always felt an intimacy when I was around her, and she seemed to understand what I was doing. I remember meeting her backstage after not seeing her for a while and she said matter-of-factly, “Oh, it’s Jacob with the pictures.”\u003c/p>\n\u003cfigure id=\"attachment_13817866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817866\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/01_09.02.14_sharonjones647_custom-00dc5983b7f44d6836786c4308f0a19a9d1648d2-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2009, Highline Ballroom\u003c/strong> — Sharon Jones and The Dap-Kings performing. This was the first time photographing them and I was lucky to catch them in a smaller room.\u003c/p>\n\u003cfigure id=\"attachment_13817867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817867\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/04_09.12.30_sjdk_209_custom-7d04450e886e61bafbee7109c21523f4be3bb413-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2009, Brooklyn Bowl\u003c/strong> — As a regular part of Sharon’s show she’d invite people up to dance with her. Sometimes her dancing partners were a little awkward, but she loved the interaction and the exchange of energy directly with fans.\u003c/p>\n\u003cfigure id=\"attachment_13817868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817868\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/07_12.08.18_daptone1341_custom-9a5054a99fcefbc1bc9990d8217a70d26c9d841a-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>August, 2012, Williamsburg Waterfront \u003c/strong>— This image really captures her sassy command of the stage. I remember the excitement of shooting from the stage; it allowed me to sense the relationship of her with her audience and when the band was locked in with her I could sync up with their energy and document the experience from within.\u003c/p>\n\u003cfigure id=\"attachment_13817869\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-520x522.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/08_13.03.21_sharonjonesc_07-edit_custom-3f76b0a682a63b3cf3416f9e9096f269d1d8e1a2-s700-c85-150x150.jpg 150w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March, 2013, New York\u003c/strong> — This was from a promotional portrait shoot commissioned by the label. The work stayed in the can for several years, as right after this Sharon got her cancer diagnosis and took the better part of a year for treatment. Someone had the good sense to go out and buy some flowers, which really softened up the image. By default, I always directed Sharon to look tough, but being more comfortable with each other I became aware of a very sweet side of her, and remember the quiet intimacy of that day.\u003c/p>\n\u003cfigure id=\"attachment_13817870\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817870\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/09_14.02.06_sharonjones0817_custom-4c96fd9092298e759130b211b1565b687b1d3845-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2014, Beacon Theater\u003c/strong> — I didn’t really know about Sharon’s spiritual dimension until the time of this picture. I learned that leading up to a performance, Starr Duncan (left) and Saundra Williams (right) would often say a prayer together with Sharon, which was an important part of focusing the emotional energy that she would bring to her performances.\u003c/p>\n\u003cfigure id=\"attachment_13817871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-800x538.jpg\" alt=\"\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-1180x793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-960x645.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/13_14.12.04_apolloc33b_custom-3dcc6bbefa144930e97fa06704c8febc0e4383a9-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon, and nearly the entire Daptone roster, returned to the Apollo Theater for three nights, for the “Daptone Super Soul Revue.” My most personal memories of Sharon are being one-on-one with her in her dressing room. I’m very humbled that she’d let me in to that space. I felt fully accepted, and I hope she felt fully seen.\u003c/p>\n\u003cfigure id=\"attachment_13817872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-1020x742.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-1180x859.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-960x699.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85-520x378.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/14_apollov2_custom-f6b04e75eb859352c117171c1b9153259454b78f-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — A sequence shot on film. Her performances were so physical, I was always looking for the subtleties (and not-so-subtleties) of her body language.\u003c/p>\n\u003cfigure id=\"attachment_13817873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/15_14.12.05_daptonen126_custom-76082504e5a2e4e437dfa9b5757468a1f7654721-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon doing what she did best: working a room.\u003c/p>\n\u003cfigure id=\"attachment_13817874\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/16_14.12.14_daptonec15_custom-dc42b8880c493248167ab09d46f70c3d210bef8f-s700-c85-520x356.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — A multiple-exposure image. With a big group like the Dap-Kings, it’s hard to get all of them in a live photo and at the same time do justice to Sharon’s energy. But Sharon and the Dap-Kings have a very symbiotic relationship, they rose to match Sharon’s performance, and Sharon operated at her peak because of their musical excellence. The whole is greater than the sum of the parts.\u003c/p>\n\u003cfigure id=\"attachment_13817875\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817875\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/19_14.12.04_apollod22_custom-b74d200668f0ff511193d133b3dc4456774508d9-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>December, 2014, Apollo Theater\u003c/strong> — Sharon was always humble, but in this case was deservedly proud over the news. The day of one of the Apollo shows, it was announced that \u003cem>Give The People What They Want \u003c/em>was nominated for a Grammy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13817876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-240x243.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-375x380.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-520x527.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/20_15.03.07_sjxmasj11_custom-f5af69de76725c359f305cce0059f76f7aec01cb-s700-c85-96x96.jpg 96w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/p>\n\u003cp>\u003cstrong>March, 2015\u003c/strong> — This is an outtake from the album cover shoot for \u003cem>It’s a Holiday Soul Party\u003c/em>. She was never a diva on set, but I remember that at this point of the shoot she was improvising lyrics to the effect of: “Let’s get this damn photo over so we can eat lunch.”\u003c/p>\n\u003cfigure id=\"attachment_13817877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-800x596.jpg\" alt=\"\" width=\"800\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-1020x760.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-1180x880.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-960x716.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85-520x388.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/21_msgsharon_custom-3021639e300e4b2391beef65bbe06091a08fd490-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2016, Madison Square Garden\u003c/strong> — The band was opening for Daryl Hall and John Oates. In the green room, around her band, management and close friends, she was a very playful and funny person.\u003c/p>\n\u003cfigure id=\"attachment_13817878\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817878\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/23_16.02.19_sharonmsg362_custom-e2cf185e8905df9929a1a4500ee230a39994b163-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>February, 2016, Madison Square Garden\u003c/strong> — Sharon as seen between Joey Crispiano (left) and Gabe Roth (right).\u003c/p>\n\u003cfigure id=\"attachment_13817882\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"1048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/30_16.07.24_sjtoura186_custom-379d8aaa2802130eba5b41cde413bb3c860635fa-s700-c85-520x779.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July, 2016, Tinley Park, Illinois\u003c/strong> — An unglamorous dressing trailer in back of a very hot, outdoor venue in Indiana. This one’s hard to talk about because it was the last time I had a private moment with her. I was in quiet awe being there with her as she transformed for the stage. She was speaking quietly about wanting to leave behind as much as she could musically for her fans, her band and her label. She was pushing for everyone else from a place of deep-selflessness and generosity.\u003c/p>\n\u003cfigure id=\"attachment_13817881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/29_16.07.24_sjtoura121_custom-9617d34b08df2e1ad3a82769173259390e306fe3-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July, 2016, Tinley Park, Illinois\u003c/strong> — On tour with Daryl Hall and John Oates, the Dap-Kings convinced Oates to perform an obscure single he had cut as a teenager in Philadelphia called “I Need Your Love.” The band learned the music and they rehearsed it at soundcheck to perform that night as a duet. It was a moment of pure fun for the band and Sharon.\u003c/p>\n\u003cfigure id=\"attachment_13817879\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817879\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/26_16.06.08_sharonjones372_custom-b8330f8276a687d107adb5aabe5406d9a98f5495-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June, 2016, Celebrate Brooklyn! Festival\u003c/strong> — When I came to this show, I wasn’t sure if I was going to photograph it or just hang out. Sometimes it’s easy to rest and think that I’ve made enough pictures of Sharon performing, but there was something special about this show, Sharon and the band were just ferocious. It was an important lesson: if Sharon can push herself like that every time, then I should get off my butt whenever I think what I’ve already done is “good enough.”\u003c/p>\n\u003cfigure id=\"attachment_13817880\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13817880\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85.jpg\" alt=\"\" width=\"700\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/28_16.06.08_sharonjones637_custom-e2ad72d6962cc1cab792b75c3594b59c2bf78652-s700-c85-520x347.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">(Jacob Blickenstaff)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June, 2016, Celebrate Brooklyn! Festival\u003c/strong> — After the show, Sharon (Jones) met with Sharon (Van Etten). This photo reminds me that every musician that I’ve talked with about Sharon has a tremendous respect for her. Almost universally, they knew she was the real thing and how much it took to do what she did.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Pictures%3A+Sharon+Jones+Remembered&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lush, Large-Scale Polaroids in the Presidio",
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"content": "\u003cp>Just a few months ago, \u003ca href=\"https://www.gallerywendinorris.com/\" rel=\"noopener\" target=\"_blank\">Gallery Wendi Norris\u003c/a> announced they’d be closing their SOMA location to focus on presenting shows in off-site locations around the world. \u003ci>If I Were a Poet\u003c/i> is the first manifestation of that new programming model, a solo show of three decades of work by Cuban-born, Boston-based artist María Magdalena Campos-Pons in the Presidio National Park. Her work is largely autobiographical, addressing her Afro-Cuban ancestry in large-format Polaroids, installation and performance. It’s a special treat for the Bay Area, because even though Campos-Pons has exhibited all over the world, this is her very first West Coast show. On view Jan. 11-28, \u003ca href=\"https://www.gallerywendinorris.com/campos-pons2017/\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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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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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
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