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"content": "\u003cp>\u003cem>Assassin’s Creed Valhalla\u003c/em>, the latest installment in Ubisoft’s \u003cem>Assassin’s Creed \u003c/em>franchise, came out in November 2020. Like most \u003cem>AC \u003c/em>games, it was highly anticipated; it sold more copies in its opening week than any other game in the series. Needless to say, fans were excited.\u003c/p>\n\u003cp>And yet, just over four months after its release, fans are castigating Ubisoft for including and leveraging overpriced, in-game purchases—more commonly called microtransactions.\u003c/p>\n\u003cp>You’ve probably heard of microtransactions before, even if you’re not a hardcore gamer. Take a look at your phone’s app store, and almost all the games in there will have a little textbox that says “In-App Purchases.” [aside postid='pop_104193']\u003c/p>\n\u003cp>Microtransactions come in all shapes and sizes. Most of the time they’re simply cosmetic, like buying a swanky set of rainbow armor for your avatar. Other times they affect actual gameplay; a player might buy an upgrade that puts them in a better position to beat an opponent online.\u003c/p>\n\u003cp>When it comes to cosmetic in-game purchases, most players don’t seem to mind. Spending money simply to change how your character looks doesn’t affect gameplay itself, so why should it matter?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It matters to gamers like Filip Eriksson—one of those flabbergasted \u003cem>Assassin’s Creed \u003c/em>fans—who recently went viral on Reddit for posting about his frustration with the new \u003cem>AC \u003c/em>game.\u003c/p>\n\u003cp>“There are now 9 armor sets in the microtransaction store—just as many as in the entire base game.” Eriksson said in his \u003ca href=\"https://www.reddit.com/r/assassinscreed/comments/lbsmi8/there_are_now_9_armor_sets_in_the/\" target=\"_blank\" rel=\"noopener noreferrer\">post\u003c/a>. “Are we just gonna let this slide?”\u003c/p>\n\u003cp>Visuals are important to players. When they buy a game, they expect an escape, a journey into some unknown world filled with action and adventure. And the scenic terrains aren’t the only visuals that matter.\u003c/p>\n\u003cp>“The cosmetic part, for me, is something that’s pretty important,” Eriksson tells me. “I like customizing my character. The customization was a bit lacking [in \u003cem>Assassin’s Creed Valhalla\u003c/em>] … which made it a bit sour when there was so much available in the microtransaction store.” [aside postid='pop_30073']\u003c/p>\n\u003cp>Eriksson’s concerns come down to the price tag: Do players really want to pay more money—in this case around $20 for a set of armor—for in-game content when they’ve already spent $60 on the game itself?\u003c/p>\n\u003cp>“Generally, in the past \u003cem>Assassin’s Creed \u003c/em>games, they drop a couple of expansions, too,” says Eriksson. “The last big season pass cost about $20. It included a new map, countless quests, and it costs around the same price” as just one of the new armor sets.\u003c/p>\n\u003cp>To go by the replies on Eriksson’s original Reddit post, a lot of \u003cem>AC \u003c/em>fans feel similarly about Ubisoft’s microtransactions in the new game. One reply stuck out in particular:\u003c/p>\n\u003cp>“This is why I wait a year or so until it’s dirt cheap on Steam,” wrote /u/NoHelp_HelpDesk. “I’ll pay what I feel is an honest price if they’re going to nickel and dime me at every turn.”\u003c/p>\n\u003cp>Players just want the chance to customize the main character, Eivor, without feeling like they have to empty their wallets to do so.\u003c/p>\n\u003cp>“In \u003cem>Assassin’s Creed Valhalla\u003c/em>, we are continuing to work hard to create the best possible experience for players,” Ubisoft said in a statement. “That includes offering a wide array of both free and paid content, which is regularly updated, with the goal of enabling players to make Eivor’s story their own through personalization.”\u003c/p>\n\u003cp>Microtransactions aren’t just about the cosmetic upgrades; often, they’re important to the actual gameplay. Dr. Ellen Evers, a marketing professor at the University of California, Berkeley who researches microtransactions, says that can take away a video game’s magic.\u003c/p>\n\u003cp>“Games in general, not just video games, have their own set of norms and rules that you’re supposed to follow,” says Evers. “It’s not against the law to steal money from the bank in \u003cem>Monopoly\u003c/em>, but clearly you’re violating the spirit of the game.”\u003c/p>\n\u003cp>According to Evers, when a player spends money on in-game purchases, they stray from the game’s original purpose.\u003c/p>\n\u003cp>“The implicit assumption is that by playing the game and building up your character, you’re supposed to get better,” says Evers. “Microtransactions basically make the game easier. They violate those rules and norms that are part of the game.”\u003c/p>\n\u003cp>Some games have even become infamous for their “pay-to-win” use of microtransactions, like \u003ca href=\"https://www.businessinsider.com/star-wars-battlefront-2-microtransactions-outrage-2017-11\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Star Wars Battlefront II\u003c/em>\u003c/a> or the mobile game \u003cem>Clash of Clans\u003c/em>, where players could simply buy the most powerful upgrades and easily defeat their online opponents.\u003c/p>\n\u003cp>Certain microtransactions fall somewhere in between cosmetic enhancements and pay-to-win. The well-known mobile game \u003cem>Candy Crush Saga \u003c/em>encourages purchasing what we’ll call “status boosting” microtransactions, where your online ranking may be influenced by how much you’ve spent on the game. While these in-game purchases can’t give you an edge against an opponent (\u003cem>Candy Crush\u003c/em> is a single player game), they affect where you fall in the rankings.\u003c/p>\n\u003cp>“If you play \u003cem>Candy Crush\u003c/em>, you can compare your ranking to other people,” says Evers. “And if your money gives you an edge [on the rankings] … that seems to be a situation where people get the most upset.” [aside postid='arts_13891275']\u003c/p>\n\u003cp>But not all in-game purchases are cause for concern. Downloadable content—or DLC for short—is a type of microtransaction that adds content to an existing game. A player can purchase new DLC to access more content after the game’s main story is complete, whether that’s a new storyline, map, characters or a mixture of all of it. “When you get DLC, you get something that’s more or less worth your money,” says Eriksson.\u003c/p>\n\u003cp>And that’s perhaps the most significant part. Too often major game developers overcharge for their extra content. Whether it’s a pay-to-win purchase or a basic cosmetic upgrade, a dedicated gamer could be throwing money into microtransactions that promise little in return.\u003c/p>\n\u003cp>It would be unfair to say that all game developers are only trying to snatch our wallets; many creators offer free DLC knowing that their fans will return the favor with positive reviews and free advertising. Take games like the magnificent \u003cem>Hollow Knight\u003c/em> or \u003cem>Stardew Valley\u003c/em>: They offer their players hours of extra content for very little, even adding more free DLC after the initial purchase.\u003c/p>\n\u003cp>But for the developers that may be hesitant to give away content for cheap or even for free, prepare for some backlash from the all-powerful internet.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Keller Gordon is a columnist for \u003c/em>Join The Game\u003cem>\u003cem>. Find him on Twitter: \u003ca href=\"https://twitter.com/kelbot_\">@kelbot_\u003c/a>\u003c/em>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Microtransactions+Are+Great+For+Game+Companies%2C+Less+Fun+For+Players&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eriksson’s concerns come down to the price tag: Do players really want to pay more money—in this case around $20 for a set of armor—for in-game content when they’ve already spent $60 on the game itself?\u003c/p>\n\u003cp>“Generally, in the past \u003cem>Assassin’s Creed \u003c/em>games, they drop a couple of expansions, too,” says Eriksson. “The last big season pass cost about $20. It included a new map, countless quests, and it costs around the same price” as just one of the new armor sets.\u003c/p>\n\u003cp>To go by the replies on Eriksson’s original Reddit post, a lot of \u003cem>AC \u003c/em>fans feel similarly about Ubisoft’s microtransactions in the new game. One reply stuck out in particular:\u003c/p>\n\u003cp>“This is why I wait a year or so until it’s dirt cheap on Steam,” wrote /u/NoHelp_HelpDesk. “I’ll pay what I feel is an honest price if they’re going to nickel and dime me at every turn.”\u003c/p>\n\u003cp>Players just want the chance to customize the main character, Eivor, without feeling like they have to empty their wallets to do so.\u003c/p>\n\u003cp>“In \u003cem>Assassin’s Creed Valhalla\u003c/em>, we are continuing to work hard to create the best possible experience for players,” Ubisoft said in a statement. “That includes offering a wide array of both free and paid content, which is regularly updated, with the goal of enabling players to make Eivor’s story their own through personalization.”\u003c/p>\n\u003cp>Microtransactions aren’t just about the cosmetic upgrades; often, they’re important to the actual gameplay. Dr. Ellen Evers, a marketing professor at the University of California, Berkeley who researches microtransactions, says that can take away a video game’s magic.\u003c/p>\n\u003cp>“Games in general, not just video games, have their own set of norms and rules that you’re supposed to follow,” says Evers. “It’s not against the law to steal money from the bank in \u003cem>Monopoly\u003c/em>, but clearly you’re violating the spirit of the game.”\u003c/p>\n\u003cp>According to Evers, when a player spends money on in-game purchases, they stray from the game’s original purpose.\u003c/p>\n\u003cp>“The implicit assumption is that by playing the game and building up your character, you’re supposed to get better,” says Evers. “Microtransactions basically make the game easier. They violate those rules and norms that are part of the game.”\u003c/p>\n\u003cp>Some games have even become infamous for their “pay-to-win” use of microtransactions, like \u003ca href=\"https://www.businessinsider.com/star-wars-battlefront-2-microtransactions-outrage-2017-11\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Star Wars Battlefront II\u003c/em>\u003c/a> or the mobile game \u003cem>Clash of Clans\u003c/em>, where players could simply buy the most powerful upgrades and easily defeat their online opponents.\u003c/p>\n\u003cp>Certain microtransactions fall somewhere in between cosmetic enhancements and pay-to-win. The well-known mobile game \u003cem>Candy Crush Saga \u003c/em>encourages purchasing what we’ll call “status boosting” microtransactions, where your online ranking may be influenced by how much you’ve spent on the game. While these in-game purchases can’t give you an edge against an opponent (\u003cem>Candy Crush\u003c/em> is a single player game), they affect where you fall in the rankings.\u003c/p>\n\u003cp>“If you play \u003cem>Candy Crush\u003c/em>, you can compare your ranking to other people,” says Evers. “And if your money gives you an edge [on the rankings] … that seems to be a situation where people get the most upset.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But not all in-game purchases are cause for concern. Downloadable content—or DLC for short—is a type of microtransaction that adds content to an existing game. A player can purchase new DLC to access more content after the game’s main story is complete, whether that’s a new storyline, map, characters or a mixture of all of it. “When you get DLC, you get something that’s more or less worth your money,” says Eriksson.\u003c/p>\n\u003cp>And that’s perhaps the most significant part. Too often major game developers overcharge for their extra content. Whether it’s a pay-to-win purchase or a basic cosmetic upgrade, a dedicated gamer could be throwing money into microtransactions that promise little in return.\u003c/p>\n\u003cp>It would be unfair to say that all game developers are only trying to snatch our wallets; many creators offer free DLC knowing that their fans will return the favor with positive reviews and free advertising. Take games like the magnificent \u003cem>Hollow Knight\u003c/em> or \u003cem>Stardew Valley\u003c/em>: They offer their players hours of extra content for very little, even adding more free DLC after the initial purchase.\u003c/p>\n\u003cp>But for the developers that may be hesitant to give away content for cheap or even for free, prepare for some backlash from the all-powerful internet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Keller Gordon is a columnist for \u003c/em>Join The Game\u003cem>\u003cem>. Find him on Twitter: \u003ca href=\"https://twitter.com/kelbot_\">@kelbot_\u003c/a>\u003c/em>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Microtransactions+Are+Great+For+Game+Companies%2C+Less+Fun+For+Players&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Putting Family, Eritrea, and Berkeley at the Heart of “Everything”",
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"content": "\u003cfigure id=\"attachment_13889456\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/IMG_6961-800x1207.jpg\" alt=\"Abdulalim A’Omer, founder of the Everything Brand sits on a stool, against a gray backdrop. He looks straight into the camera with no expression. His thick curly hair and beard are the same length, about an inch. He wears a full white outfit, you can see two red E's on his sleeve and thigh. His gray shoes have accents of orange. The shoes and his outfit look fresh.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_6961-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_6961-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_6961-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_6961.jpg 1002w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abdulalim A’Omer, founder of the Everything Brand \u003ccite>(Israel Alemu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/AbdulalimJemal\" target=\"_blank\" rel=\"noopener noreferrer\">Abdulalim A’Omer\u003c/a> grew up in a tight-knit Muslim Eritrean community in South Berkeley.\u003c/p>\n\u003cp>He says that experience exposed him to a little bit of everything– fashion, basketball, family, politics, religion, technology and more. It all proved to be a foundational part of Abdulalim’s multifaceted \u003ca href=\"https://twitter.com/everything_brnd\" target=\"_blank\" rel=\"noopener noreferrer\">Everything brand\u003c/a>, which wants to ask its users, \u003cem>what’s your everything\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_13889492\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889492\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/ETHS-19-800x533.jpg\" alt=\"Abdulalim A’Omer (red shirt) and his folks modeling for his Everything brand\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abdulalim A’Omer (red shirt in the front row) and his folks modeling for his Everything brand \u003ccite>(Israel Alemu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abdulalim, or Abdul for short, is the oldest of four boys. His parents immigrated from Eritrea, allowing him to become a college educated entrepreneur. Their sacrifices aren’t lost on him and he maintains a connection to their homeland. But recently, he’s watched Eritrea become enmeshed in a brewing civil conflict in the neighboring country of Ethiopia.\u003c/p>\n\u003cp>In this week’s episode of Rightnowish we talk to Abdulalim about how he is using technology and art to bring people into his world of culture, community and … everything.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Abdulalim A’Omer.\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2963333937\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Pen: How would you describe that tight knit group you grew up in\u003c/em>?\u003c/p>\n\u003cp>Abdulalim: My parents immigrated from Eritrea back in the 80s and 90s, you know, fleeing war and violence and what not. But my parents that kind of created a community around us and other Eritreans who immigrated here. They all had kids at the same time. I grew up with three other families, we have no blood relationship with, but just have this shared background. We’re all Eritrean, we’re all Muslim and our parents really made it a point for all of us to grow up together. Our parents kind of created this thing where every Friday we’d go to each other’s houses and it started off as like an opportunity to teach the kids Quran verses and then we just go have fun. We’d just go play for the rest of the night. For our parents, it’s been about almost 30 years now they’ve done it every Friday. And we have that shared history, we have that shared background. But at the same time [us kids] grew up in a different world.\u003c/p>\n\u003cp>Abdulalim: At home it’s like you have the same values of and traditions back home. But, you know, when you’re outside, in the Bay Area, you’re you’re black in America. I’m a black man in America and I’m facing the things that come with that. Like, I have those struggles. I share those struggles and that experience really kind of molds you… you know, you hear your stories of family members kind of back home who are really struggling right now and you’re looking to help them out.\u003c/p>\n\u003cfigure id=\"attachment_13889515\" class=\"wp-caption alignnone\" style=\"max-width: 799px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/IJgv-qdB.jpg\" alt=\"A Black man wearing a black bomber jacket with flags running down the arm stands in front of a basketball hoop. The camera looks up at him, and he looks down at the camera from a sideways glance. The trees are out of focus in the background, the bigger trees have already lost all their leaves and the sky is clear with no clouds. \" width=\"799\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IJgv-qdB.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IJgv-qdB-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IJgv-qdB-768x1153.jpg 768w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003cfigcaption class=\"wp-caption-text\">An Everything brand bomber jacket.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen: There’s been some things that have transpired over the weekend in Ethiopia that have spilled over into Eritrea, and I just wanted to get a sense of what’s happening, how it’s impacting you and your community.\u003c/em>\u003c/p>\n\u003cp>Abdualim: It’s rough man like what’s happening in Tigray is that Ethiopia was set to have elections this past year. And due to Covid-19, the prime minister and the Ethiopian government announced that they would be postponing elections. However, Ethiopia is made up of an ethnic federation, so ethnic groups kind of have their own statehoods and they have their own local governments. And the Tigray region is on an ethnic federation level, a statehood level, said ‘no, we’re going to continue to have our elections.’ That didn’t sit right with the Ethiopian government. And that’s kind of led to this higher tension. So these types of things like these relationships that have like been soured for multiple decades, you know, these go back up until like the 60s, 50s it’s just kind of taking light again today.\u003c/p>\n\u003cp>\u003cem>Pen: To be clear, there’s the conflict. Like you said, it’s been a back and forth for years, decades now…\u003c/em>\u003c/p>\n\u003cp>Abdualim: Eritrea right now is one of the worst dictatorships in the world and has like the highest censorship in the world. So you’re only seeing state run propaganda. So when one day you wake up and the capital city is being attacked, you have no idea why. You don’t understand what’s going on. You don’t understand like, oh, there’s a war happening in Ethiopia and that Eritrea has actually been involved from the beginning and that now we’re being attacked because of the consequence of our actions of being involved.\u003c/p>\n\u003cp>\u003cem>Pen: When you talk about that kabosh on communications and you recently launched your media platform, how does that intertwine?\u003c/em>\u003c/p>\n\u003cp>Abdualim: I studied at UC Davis and I studied international relations and world trade development. And my entire focus was really on that part of the world. You know, how could I create economic opportunity on a large scale. How can I do that back home? When I understood the privilege and the opportunity that I have. And I want to make the most of it, try to create opportunity, to try to create for the betterment of those people.\u003c/p>\n\u003cp>\u003cem>Pen: … I know your parents had to be like, ‘what you’re getting into fashion now?’\u003c/em>\u003c/p>\n\u003cp>Abdulalim: But slowly, like you start seeing the community start to buy your stuff. It’s funny, I remember at one little conference here not too long ago, there was a bunch of people wearing my stuff and my dad came up to me like, “hey, like this is kind of cool. Like a lot of people are coming up to me like ‘yo, this is your son’s stuff.'”\u003c/p>\n\u003cp>Abdulalim: Just that kind of moment realization where they’re now like, “yo, you should do this color, you should do this design, you should you know, you’ve thought about this.” You know, giving me recommendations. So it’s really cool to see it kind of come full circle and see, like, the full potential of all this and they understand that I’m extremely invested in this, although I work a full time job and I’m trying to help support myself, them and my siblings as well. So they know like the potential and they’re seeing the growth and its def made them believe I’d say.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13889456\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/IMG_6961-800x1207.jpg\" alt=\"Abdulalim A’Omer, founder of the Everything Brand sits on a stool, against a gray backdrop. He looks straight into the camera with no expression. His thick curly hair and beard are the same length, about an inch. He wears a full white outfit, you can see two red E's on his sleeve and thigh. His gray shoes have accents of orange. The shoes and his outfit look fresh.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_6961-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_6961-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_6961-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_6961.jpg 1002w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abdulalim A’Omer, founder of the Everything Brand \u003ccite>(Israel Alemu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/AbdulalimJemal\" target=\"_blank\" rel=\"noopener noreferrer\">Abdulalim A’Omer\u003c/a> grew up in a tight-knit Muslim Eritrean community in South Berkeley.\u003c/p>\n\u003cp>He says that experience exposed him to a little bit of everything– fashion, basketball, family, politics, religion, technology and more. It all proved to be a foundational part of Abdulalim’s multifaceted \u003ca href=\"https://twitter.com/everything_brnd\" target=\"_blank\" rel=\"noopener noreferrer\">Everything brand\u003c/a>, which wants to ask its users, \u003cem>what’s your everything\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_13889492\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889492\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/ETHS-19-800x533.jpg\" alt=\"Abdulalim A’Omer (red shirt) and his folks modeling for his Everything brand\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abdulalim A’Omer (red shirt in the front row) and his folks modeling for his Everything brand \u003ccite>(Israel Alemu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abdulalim, or Abdul for short, is the oldest of four boys. His parents immigrated from Eritrea, allowing him to become a college educated entrepreneur. Their sacrifices aren’t lost on him and he maintains a connection to their homeland. But recently, he’s watched Eritrea become enmeshed in a brewing civil conflict in the neighboring country of Ethiopia.\u003c/p>\n\u003cp>In this week’s episode of Rightnowish we talk to Abdulalim about how he is using technology and art to bring people into his world of culture, community and … everything.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Abdulalim A’Omer.\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2963333937\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Pen: How would you describe that tight knit group you grew up in\u003c/em>?\u003c/p>\n\u003cp>Abdulalim: My parents immigrated from Eritrea back in the 80s and 90s, you know, fleeing war and violence and what not. But my parents that kind of created a community around us and other Eritreans who immigrated here. They all had kids at the same time. I grew up with three other families, we have no blood relationship with, but just have this shared background. We’re all Eritrean, we’re all Muslim and our parents really made it a point for all of us to grow up together. Our parents kind of created this thing where every Friday we’d go to each other’s houses and it started off as like an opportunity to teach the kids Quran verses and then we just go have fun. We’d just go play for the rest of the night. For our parents, it’s been about almost 30 years now they’ve done it every Friday. And we have that shared history, we have that shared background. But at the same time [us kids] grew up in a different world.\u003c/p>\n\u003cp>Abdulalim: At home it’s like you have the same values of and traditions back home. But, you know, when you’re outside, in the Bay Area, you’re you’re black in America. I’m a black man in America and I’m facing the things that come with that. Like, I have those struggles. I share those struggles and that experience really kind of molds you… you know, you hear your stories of family members kind of back home who are really struggling right now and you’re looking to help them out.\u003c/p>\n\u003cfigure id=\"attachment_13889515\" class=\"wp-caption alignnone\" style=\"max-width: 799px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/IJgv-qdB.jpg\" alt=\"A Black man wearing a black bomber jacket with flags running down the arm stands in front of a basketball hoop. The camera looks up at him, and he looks down at the camera from a sideways glance. The trees are out of focus in the background, the bigger trees have already lost all their leaves and the sky is clear with no clouds. \" width=\"799\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IJgv-qdB.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IJgv-qdB-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IJgv-qdB-768x1153.jpg 768w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003cfigcaption class=\"wp-caption-text\">An Everything brand bomber jacket.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen: There’s been some things that have transpired over the weekend in Ethiopia that have spilled over into Eritrea, and I just wanted to get a sense of what’s happening, how it’s impacting you and your community.\u003c/em>\u003c/p>\n\u003cp>Abdualim: It’s rough man like what’s happening in Tigray is that Ethiopia was set to have elections this past year. And due to Covid-19, the prime minister and the Ethiopian government announced that they would be postponing elections. However, Ethiopia is made up of an ethnic federation, so ethnic groups kind of have their own statehoods and they have their own local governments. And the Tigray region is on an ethnic federation level, a statehood level, said ‘no, we’re going to continue to have our elections.’ That didn’t sit right with the Ethiopian government. And that’s kind of led to this higher tension. So these types of things like these relationships that have like been soured for multiple decades, you know, these go back up until like the 60s, 50s it’s just kind of taking light again today.\u003c/p>\n\u003cp>\u003cem>Pen: To be clear, there’s the conflict. Like you said, it’s been a back and forth for years, decades now…\u003c/em>\u003c/p>\n\u003cp>Abdualim: Eritrea right now is one of the worst dictatorships in the world and has like the highest censorship in the world. So you’re only seeing state run propaganda. So when one day you wake up and the capital city is being attacked, you have no idea why. You don’t understand what’s going on. You don’t understand like, oh, there’s a war happening in Ethiopia and that Eritrea has actually been involved from the beginning and that now we’re being attacked because of the consequence of our actions of being involved.\u003c/p>\n\u003cp>\u003cem>Pen: When you talk about that kabosh on communications and you recently launched your media platform, how does that intertwine?\u003c/em>\u003c/p>\n\u003cp>Abdualim: I studied at UC Davis and I studied international relations and world trade development. And my entire focus was really on that part of the world. You know, how could I create economic opportunity on a large scale. How can I do that back home? When I understood the privilege and the opportunity that I have. And I want to make the most of it, try to create opportunity, to try to create for the betterment of those people.\u003c/p>\n\u003cp>\u003cem>Pen: … I know your parents had to be like, ‘what you’re getting into fashion now?’\u003c/em>\u003c/p>\n\u003cp>Abdulalim: But slowly, like you start seeing the community start to buy your stuff. It’s funny, I remember at one little conference here not too long ago, there was a bunch of people wearing my stuff and my dad came up to me like, “hey, like this is kind of cool. Like a lot of people are coming up to me like ‘yo, this is your son’s stuff.'”\u003c/p>\n\u003cp>Abdulalim: Just that kind of moment realization where they’re now like, “yo, you should do this color, you should do this design, you should you know, you’ve thought about this.” You know, giving me recommendations. So it’s really cool to see it kind of come full circle and see, like, the full potential of all this and they understand that I’m extremely invested in this, although I work a full time job and I’m trying to help support myself, them and my siblings as well. So they know like the potential and they’re seeing the growth and its def made them believe I’d say.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>This post has been updated to reflect the extended application deadline of Sept. 21.\u003c/i>\u003c/p>\n\u003cp>Kala Art Institute is now accepting applications for a brand-new expansion on its \u003ca href=\"http://www.kala.org/studio/print-public/\" rel=\"noopener noreferrer\" target=\"_blank\">Print Public residency program\u003c/a>: an artist residency with the city of Berkeley itself. Two local artists or artist teams will work as “cultural strategists” (more on that later) to pilot the program. \u003c/p>\n\u003cp>San Francisco began a \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/announcing-first-artist-residence-san-francisco-planning\" rel=\"noopener noreferrer\" target=\"_blank\">similar effort\u003c/a> in 2015; artists have since undertaken residencies in the planning department and within \u003ca href=\"https://www.sfartscommission.org/content/jeremy-fish\" rel=\"noopener noreferrer\" target=\"_blank\">City Hall\u003c/a>. New York’s \u003ca href=\"https://www1.nyc.gov/site/dcla/publicart/pair.page\" rel=\"noopener noreferrer\" target=\"_blank\">Public Artists in Residence\u003c/a> program places artists in departments like the Mayor’s Office of Immigrant Affairs, the Department of Records and Information Services, and the Commission on Human Rights, yielding all sorts of output: physical artworks, events, online exhibitions and poster series.\u003c/p>\n\u003cp>New York’s program is inspired by the visionary work of \u003ca href=\"https://feldmangallery.com/artist-home/mierle-laderman-ukeles\" rel=\"noopener noreferrer\" target=\"_blank\">Mierle Laderman Ukeles\u003c/a>, who began her own self-appointed (and unsalaried) residency with the New York City Department of Sanitation in 1977—and continues it to this day.\u003c/p>\n\u003cp>Kala and Berkeley’s program will provide the residency recipients with $7,500 each and a 14-month residency at Kala, with 24-hour access to the printmaking studio and digital lab. The specific city department artists will embed within is not yet decided, but the program views the artist’s role as using “creative thinking and culture as a way to address community issues or de-tangle community knots.”\u003c/p>\n\u003cp>Also specified: The artists need not make objects.\u003c/p>\n\u003cp>Four finalists will be chosen based on the initial applications, which are due by Sept. 21. \u003ca href=\"http://www.kala.org/studio/print-public/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This post has been updated to reflect the extended application deadline of Sept. 21.\u003c/i>\u003c/p>\n\u003cp>Kala Art Institute is now accepting applications for a brand-new expansion on its \u003ca href=\"http://www.kala.org/studio/print-public/\" rel=\"noopener noreferrer\" target=\"_blank\">Print Public residency program\u003c/a>: an artist residency with the city of Berkeley itself. Two local artists or artist teams will work as “cultural strategists” (more on that later) to pilot the program. \u003c/p>\n\u003cp>San Francisco began a \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/announcing-first-artist-residence-san-francisco-planning\" rel=\"noopener noreferrer\" target=\"_blank\">similar effort\u003c/a> in 2015; artists have since undertaken residencies in the planning department and within \u003ca href=\"https://www.sfartscommission.org/content/jeremy-fish\" rel=\"noopener noreferrer\" target=\"_blank\">City Hall\u003c/a>. New York’s \u003ca href=\"https://www1.nyc.gov/site/dcla/publicart/pair.page\" rel=\"noopener noreferrer\" target=\"_blank\">Public Artists in Residence\u003c/a> program places artists in departments like the Mayor’s Office of Immigrant Affairs, the Department of Records and Information Services, and the Commission on Human Rights, yielding all sorts of output: physical artworks, events, online exhibitions and poster series.\u003c/p>\n\u003cp>New York’s program is inspired by the visionary work of \u003ca href=\"https://feldmangallery.com/artist-home/mierle-laderman-ukeles\" rel=\"noopener noreferrer\" target=\"_blank\">Mierle Laderman Ukeles\u003c/a>, who began her own self-appointed (and unsalaried) residency with the New York City Department of Sanitation in 1977—and continues it to this day.\u003c/p>\n\u003cp>Kala and Berkeley’s program will provide the residency recipients with $7,500 each and a 14-month residency at Kala, with 24-hour access to the printmaking studio and digital lab. The specific city department artists will embed within is not yet decided, but the program views the artist’s role as using “creative thinking and culture as a way to address community issues or de-tangle community knots.”\u003c/p>\n\u003cp>Also specified: The artists need not make objects.\u003c/p>\n\u003cp>Four finalists will be chosen based on the initial applications, which are due by Sept. 21. \u003ca href=\"http://www.kala.org/studio/print-public/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Berkeley Art Museum and Pacific Film Archive (BAMPFA) announced on Thursday \u003ca href=\"https://bampfa.org/news/julie-rodrigues-widholm-appointed-lead-bampfa\" rel=\"noopener noreferrer\" target=\"_blank\">the appointment\u003c/a> of a new director: Julie Rodrigues Widholm, the current director and chief curator of the DePaul Art Museum (DPAM) in Chicago.\u003c/p>\n\u003cp>Widholm comes into Berkeley with high marks. During her five years at DPAM, the museum experienced a 40% increase in attendance and a tripling of its annual budget. She also oversaw the addition of 500 artworks to the museum’s collection “with a particular emphasis on work by underrecognized artists from marginalized groups,” according to BAMPFA’s press release.\u003c/p>\n\u003cp>Widholm succeeds BAMPFA’s \u003ca href=\"https://www.kqed.org/arts/13866997/lawrence-rinder-bampfa-director-and-chief-curator-to-step-down\" rel=\"noopener noreferrer\" target=\"_blank\">exiting director Lawrence Rinder\u003c/a>, whose history with the museum stretches back to the 1980s and whose role as director began in 2008. [aside postID='arts_13866997']\u003c/p>\n\u003cp>Rinder was widely acknowledged to have left the museum in good standing, after overseeing a major move from the institution’s former home—a 101,000-square-foot brutalist concrete shell on Bancroft Way—to a new building on Center Street. Rinder, whose acquisition program added over 6,000 works to the museum’s collection, also reportedly secured a “significant gift from an anonymous donor” before his departure. \u003c/p>\n\u003cp>The museum, currently closed due to the COVID-19 pandemic, cites Widholm’s “emphasis on diversity and inclusion” as a contributing factor in her hiring, pointing to DPAM’s curatorial program and its emphasis on work by artists of color, women and LGBTQ artists. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I am incredibly honored to join BAMPFA at this critical juncture to work collaboratively with staff, colleagues, faculty, students, and other stakeholders in the community to think deeply about what it means to be an inclusive academic art museum in the 21st century,” Widholm said in a statement. “I have long admired BAMPFA’s program, including the MATRIX program’s longstanding role in bringing emerging and underrecognized contemporary artists to the fore.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Windholm will start at BAMPFA on Aug. 1.\u003c/p>\n\n",
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"content": "\u003cp>I’ve got a lot to learn when it comes to this fatherhood thing. Not just about love and discipline, but about guiding my daughter toward whatever she aspires to be– and even though she’s only 3, it starts now.\u003c/p>\n\u003cp>With that said, I figured it was time to talk to a father-daughter-duo with experience.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/sydneynycole_/\" target=\"_blank\" rel=\"noopener noreferrer\">Sydney Nycole\u003c/a> is a singer and songwriter from Berkeley who has been making music since she was a teen. And although her father (and manager) Gary Reeves has been in the industry since the 1980s, Sydney found this passion on her own.\u003c/p>\n\u003cfigure id=\"attachment_13882186\" class=\"wp-caption alignnone\" style=\"max-width: 732px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/FullSizeRender.jpeg\" alt=\"Singer and songwriter Sydney Nycole and her father/manager Gary Reeves\" width=\"732\" height=\"1019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/FullSizeRender.jpeg 732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/FullSizeRender-160x223.jpeg 160w\" sizes=\"(max-width: 732px) 100vw, 732px\">\u003cfigcaption class=\"wp-caption-text\">Singer and songwriter Sydney Nycole and her father/manager Gary Reeves \u003ccite>(Sydney Nycole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once it was established that Sydney, a free spirit who has no problem speaking her mind, was on the path to becoming an artist, it was on Gary to make sure he did his best to be there to support her and to know when to step back and let Sydney do her own thing.\u003c/p>\n\u003cp>In this conversation, Gary talks about how his experiences working with the likes of Michael Jordan, Jamie Foxx and Blair Underwood informed what it’s like to be a father in the entertainment industry. Sydney also offers some insight into what her father has done to help her on her path.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In between the laughter and jokes, there’s wisdom from a shared experience. And I just sit there and take notes.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6323086442&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Sydney Nycole and Gary Reeves.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: So Gary, when when did you first notice Sydney’s talents?\u003c/em>\u003c/p>\n\u003cp>Gary: A friend of mine who’s an engineer was in town from Florida and basically Sydney had asked you know to go into the studio for her birthday. He took her in. He was gracious enough to kind of –he worked with a lot of big artists. And he said, “Man Sydney can really write, man, and sing, man.” And I’m like, “Dude what are you doing?” And I’m like, Huh? I mean, like Sydney was doing softball and volleyball, you know, in high school. So I’m like we’re working on this softball scholarship is what we doin it right now [delete: he said]. I said I’m not trying to pull Sydney into music. He said, no bro, you got to hear this song, man. You’ve got to hear this song like it’s right in front of you.\u003c/p>\n\u003cp>Gary: You know, after that, I mean, at the time, I was working heavily with Jamie Foxx. So she said, “Dad, I just want to do these three songs and then have a meeting with Jamie Foxx. And I said, “Okay, cool. I mean, like, that’s not a big ask, OK? You know, I mean, you was like, if anybody can take, you know, so she’s like she’s like, let me just take take me right to the table dad. So I can go land this deal for myself like tomorrow, you know. (Laughs)\u003c/p>\n\u003cp>\u003cem>Pen: Wait, hold on. Wait, wait. What age is this?\u003c/em>\u003c/p>\n\u003cp>Sydney: This is sixteen. Sixteen!\u003c/p>\n\u003cp>\u003cem>Pen: Oh yeah. Just let me meet Jamie Foxx. Whatever. I’m a go ahead and get started…\u003c/em>\u003c/p>\n\u003cp>\u003cem>Pen: The reason why I wanted to have this conversation is not only to highlight the work that you all are doing, but also because it’s Father’s Day weekend and I’m a father of a young daughter who’s she’s some type of entertainer. So, like, do you have any advice?\u003c/em>\u003c/p>\n\u003cp>Gary: The main thing is to be loving as a dad, you know? and then be real right? At the same time. Because if we sugarcoat it, the reality is going to hit them in the face at some point if they don’t have what it takes to make it, right? So so from that standpoint, I’m always real with Sydney. Sydney has enough confidence where she will challenge me on certain things, I feel a certain way about. So I just let it go and like, hey, OK that’s your decision, you live with your decision. fine. But Daddy love you, you know. But, understand Daddy’s been in the game for 20 years, so so just understand that.\u003c/p>\n\u003cp>Sydney: My dad has let me be me. Like I went from volleyball to softball to being a singer to be like just he just let me go. But it was still of course, there’s always love. So I feel like when you let a person be free and still have that love, they’re going to blossom no matter what.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve got a lot to learn when it comes to this fatherhood thing. Not just about love and discipline, but about guiding my daughter toward whatever she aspires to be– and even though she’s only 3, it starts now.\u003c/p>\n\u003cp>With that said, I figured it was time to talk to a father-daughter-duo with experience.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/sydneynycole_/\" target=\"_blank\" rel=\"noopener noreferrer\">Sydney Nycole\u003c/a> is a singer and songwriter from Berkeley who has been making music since she was a teen. And although her father (and manager) Gary Reeves has been in the industry since the 1980s, Sydney found this passion on her own.\u003c/p>\n\u003cfigure id=\"attachment_13882186\" class=\"wp-caption alignnone\" style=\"max-width: 732px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/FullSizeRender.jpeg\" alt=\"Singer and songwriter Sydney Nycole and her father/manager Gary Reeves\" width=\"732\" height=\"1019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/FullSizeRender.jpeg 732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/FullSizeRender-160x223.jpeg 160w\" sizes=\"(max-width: 732px) 100vw, 732px\">\u003cfigcaption class=\"wp-caption-text\">Singer and songwriter Sydney Nycole and her father/manager Gary Reeves \u003ccite>(Sydney Nycole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once it was established that Sydney, a free spirit who has no problem speaking her mind, was on the path to becoming an artist, it was on Gary to make sure he did his best to be there to support her and to know when to step back and let Sydney do her own thing.\u003c/p>\n\u003cp>In this conversation, Gary talks about how his experiences working with the likes of Michael Jordan, Jamie Foxx and Blair Underwood informed what it’s like to be a father in the entertainment industry. Sydney also offers some insight into what her father has done to help her on her path.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In between the laughter and jokes, there’s wisdom from a shared experience. And I just sit there and take notes.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6323086442&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Sydney Nycole and Gary Reeves.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: So Gary, when when did you first notice Sydney’s talents?\u003c/em>\u003c/p>\n\u003cp>Gary: A friend of mine who’s an engineer was in town from Florida and basically Sydney had asked you know to go into the studio for her birthday. He took her in. He was gracious enough to kind of –he worked with a lot of big artists. And he said, “Man Sydney can really write, man, and sing, man.” And I’m like, “Dude what are you doing?” And I’m like, Huh? I mean, like Sydney was doing softball and volleyball, you know, in high school. So I’m like we’re working on this softball scholarship is what we doin it right now [delete: he said]. I said I’m not trying to pull Sydney into music. He said, no bro, you got to hear this song, man. You’ve got to hear this song like it’s right in front of you.\u003c/p>\n\u003cp>Gary: You know, after that, I mean, at the time, I was working heavily with Jamie Foxx. So she said, “Dad, I just want to do these three songs and then have a meeting with Jamie Foxx. And I said, “Okay, cool. I mean, like, that’s not a big ask, OK? You know, I mean, you was like, if anybody can take, you know, so she’s like she’s like, let me just take take me right to the table dad. So I can go land this deal for myself like tomorrow, you know. (Laughs)\u003c/p>\n\u003cp>\u003cem>Pen: Wait, hold on. Wait, wait. What age is this?\u003c/em>\u003c/p>\n\u003cp>Sydney: This is sixteen. Sixteen!\u003c/p>\n\u003cp>\u003cem>Pen: Oh yeah. Just let me meet Jamie Foxx. Whatever. I’m a go ahead and get started…\u003c/em>\u003c/p>\n\u003cp>\u003cem>Pen: The reason why I wanted to have this conversation is not only to highlight the work that you all are doing, but also because it’s Father’s Day weekend and I’m a father of a young daughter who’s she’s some type of entertainer. So, like, do you have any advice?\u003c/em>\u003c/p>\n\u003cp>Gary: The main thing is to be loving as a dad, you know? and then be real right? At the same time. Because if we sugarcoat it, the reality is going to hit them in the face at some point if they don’t have what it takes to make it, right? So so from that standpoint, I’m always real with Sydney. Sydney has enough confidence where she will challenge me on certain things, I feel a certain way about. So I just let it go and like, hey, OK that’s your decision, you live with your decision. fine. But Daddy love you, you know. But, understand Daddy’s been in the game for 20 years, so so just understand that.\u003c/p>\n\u003cp>Sydney: My dad has let me be me. Like I went from volleyball to softball to being a singer to be like just he just let me go. But it was still of course, there’s always love. So I feel like when you let a person be free and still have that love, they’re going to blossom no matter what.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just over a decade ago, Chris Riggins’ friends challenged him to do an opening set for Dave Chappelle at the New Parish in Oakland. That evening launched Riggins’ career in comedy.\u003c/p>\n\u003cp>By this point Riggins has performed on stages across the Bay Area and beyond. And as his career was in mid-stride — COVID-19 hit. Now Riggins is adjusting to a world where comedy performances, like many forms of art, are happening online.\u003c/p>\n\u003cp>While live stand-up comedy is all about the interaction between the comedian and the audience, online comedy causes Riggins to rely on written comments, muted laughs and Facebook emojis from attendees to show that they’re having a good time.\u003c/p>\n\u003cp>Riggins, a South Berkeley native who meshes political banter, commentary on the marijuana industry and “dick pic” jokes into his routines, says that the transition to performing fully online wasn’t easy, but as a pro, he’s learned to adapt.\u003c/p>\n\u003cp>This week on Rightnowish, Chris Riggins takes you to the virtual comedy club.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5436723833&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Chris Riggins.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Is it too soon to quote crack jokes about Covid?\u003c/em>\u003c/p>\n\u003cp>Chris: No way. That’s all we’ve been doing, I’m at the point now where I’m writing jokes for after Covid because I’m like, OK, these jokes are gonna be relevant until we all get out of it. And then maybe for a month after. You know it’s funny like I’m running into comedians who are scared to do these shows and they’re like, “I don’t want to do this show. It doesn’t feel like comedy.” I’m like, well, maybe you’re not a comedian? I don’t know. (Laughs)\u003c/p>\n\u003cp>\u003cem>Pen: I know a large part of comedy interaction with the crowd. Since you don’t have that crowd to interact with, how do you do comedy?\u003c/em>\u003c/p>\n\u003cp>Chris: When I’m on Facebook Live or Instagram Live, I get the computer or the phone real close to me and I just read the comments, because people are responding. And then when they hear \u003cem>you\u003c/em> respond, then they’re like, he’s responding to me! And then they’re sharing it with other people. It’s more personable.\u003c/p>\n\u003cp>Zoom was a whole other level because I could see people’s faces. So I was like roasting people in their house. Like, I had one dude get up and show me his house so I could roast his house. I was like, walk around your house so I could roast your house, you know? It was fun. And I think everybody enjoyed it.\u003c/p>\n\u003cp>\u003cem>Pen: In doing these online performances where you don’t have the crowd in front of you. How do you know that your jokes are even landing with them?\u003c/em>\u003c/p>\n\u003cp>Chris: When you’re watching, emojis are going up and you know, the heart’s going on, the laughter is going up. So you can see that. And then on Zoom, you can hear the people, they actually can turn their mics on. It’s the best time to be quarantined because we have the most technology just to communicate.\u003c/p>\n\u003cp>The future of anything is adaptation. I mean, like I can admit, I was one of those standup comedians that was like, “I don’t like these Instagram comedians, I don’t like these YouTube guys.” Just because they’re editing their jokes. They got 20 takes and they’re editing it, where I’m going on stage and I got one take to say this joke right in front of a crowd of 2000 people or it’s gonna be bad. You know.\u003c/p>\n\u003cp>[[Coronavirus]] is making you adapt your material because the material \u003cem>has\u003c/em> to be funny now. It’s weeding out the people who are making it on energy. Now, it’s like, oh, are you funny? Because I can’t say nothing back to you. So you better hope I’m laughing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just over a decade ago, Chris Riggins’ friends challenged him to do an opening set for Dave Chappelle at the New Parish in Oakland. That evening launched Riggins’ career in comedy.\u003c/p>\n\u003cp>By this point Riggins has performed on stages across the Bay Area and beyond. And as his career was in mid-stride — COVID-19 hit. Now Riggins is adjusting to a world where comedy performances, like many forms of art, are happening online.\u003c/p>\n\u003cp>While live stand-up comedy is all about the interaction between the comedian and the audience, online comedy causes Riggins to rely on written comments, muted laughs and Facebook emojis from attendees to show that they’re having a good time.\u003c/p>\n\u003cp>Riggins, a South Berkeley native who meshes political banter, commentary on the marijuana industry and “dick pic” jokes into his routines, says that the transition to performing fully online wasn’t easy, but as a pro, he’s learned to adapt.\u003c/p>\n\u003cp>This week on Rightnowish, Chris Riggins takes you to the virtual comedy club.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5436723833&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Chris Riggins.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Is it too soon to quote crack jokes about Covid?\u003c/em>\u003c/p>\n\u003cp>Chris: No way. That’s all we’ve been doing, I’m at the point now where I’m writing jokes for after Covid because I’m like, OK, these jokes are gonna be relevant until we all get out of it. And then maybe for a month after. You know it’s funny like I’m running into comedians who are scared to do these shows and they’re like, “I don’t want to do this show. It doesn’t feel like comedy.” I’m like, well, maybe you’re not a comedian? I don’t know. (Laughs)\u003c/p>\n\u003cp>\u003cem>Pen: I know a large part of comedy interaction with the crowd. Since you don’t have that crowd to interact with, how do you do comedy?\u003c/em>\u003c/p>\n\u003cp>Chris: When I’m on Facebook Live or Instagram Live, I get the computer or the phone real close to me and I just read the comments, because people are responding. And then when they hear \u003cem>you\u003c/em> respond, then they’re like, he’s responding to me! And then they’re sharing it with other people. It’s more personable.\u003c/p>\n\u003cp>Zoom was a whole other level because I could see people’s faces. So I was like roasting people in their house. Like, I had one dude get up and show me his house so I could roast his house. I was like, walk around your house so I could roast your house, you know? It was fun. And I think everybody enjoyed it.\u003c/p>\n\u003cp>\u003cem>Pen: In doing these online performances where you don’t have the crowd in front of you. How do you know that your jokes are even landing with them?\u003c/em>\u003c/p>\n\u003cp>Chris: When you’re watching, emojis are going up and you know, the heart’s going on, the laughter is going up. So you can see that. And then on Zoom, you can hear the people, they actually can turn their mics on. It’s the best time to be quarantined because we have the most technology just to communicate.\u003c/p>\n\u003cp>The future of anything is adaptation. I mean, like I can admit, I was one of those standup comedians that was like, “I don’t like these Instagram comedians, I don’t like these YouTube guys.” Just because they’re editing their jokes. They got 20 takes and they’re editing it, where I’m going on stage and I got one take to say this joke right in front of a crowd of 2000 people or it’s gonna be bad. You know.\u003c/p>\n\u003cp>[[Coronavirus]] is making you adapt your material because the material \u003cem>has\u003c/em> to be funny now. It’s weeding out the people who are making it on energy. Now, it’s like, oh, are you funny? Because I can’t say nothing back to you. So you better hope I’m laughing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>What do you do if you’re a college senior with a sense of humor, a canceled graduation and, suddenly, a lot of spare time?\u003c/p>\n\u003cp>On March 15, UC Berkeley student Bjorn Lustic got the idea to recreate the graduation in Minecraft, a video game where the objective is to build structures by placing blocks around a 3D environment. He cites a sarcastic Facebook comment as the source of inspiration. A month, a few more Facebook posts and several thousand likes later, \u003ca href=\"https://www.facebook.com/events/244292959939686/\" target=\"_blank\" rel=\"noopener noreferrer\">the project\u003c/a> has grown into a full-scale recreation of the UC Berkeley campus with a waiting list of students trying to get in on the fun of construction.\u003c/p>\n\u003cp>When IRL events started to disappear around campus, students, like everyone else, turned to the internet. “It’s kind of a natural thing at this point to look online and look to virtual communities to hang out, that’s what we’re used to,” Lustic says.\u003c/p>\n\u003cfigure id=\"attachment_13879041\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Building_1200.jpg\" alt=\"\" width=\"1200\" height=\"760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200-1020x646.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Users at work building ‘Blockeley University.’ \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minecraft, owned by Microsoft, is a simple way for people to build digital structures, even for those without a background in engineering or architecture, but it’s also sentimental for people who grew up playing the game. “This game already has had a really big impact on our lives and our social interactions,” Lustic says. “I’ve been hanging out with friends on servers for like eight, nine years. Being able to do this in another school, another place, it brings back a lot of memories of being at home with friends.”\u003c/p>\n\u003cp>Lustic initially started working on the plan to build Memorial Stadium with his friend Hunter Hall. When they realized the two of them weren’t going to be able to complete the project by themselves, they posted in the Facebook group Overheard at UC Berkeley. A small but steady stream of students offered to help until early April, when one of their Facebook posts spread across the platform. “I guess we were shell shocked—at least I was,” says Hall of the overwhelming response. “I woke up at noon, and I was like, ‘Either something really good or something really bad has happened.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The project previously had about ten people organizing on a Discord server. As news spread, over 500 students began applying to help use satellite data to create a 1-1 scale model of not just UC Berkeley landmarks, but the whole school. “Our intention was never to build the entire campus,” says Hall. “We were expecting maybe a few dozen, at most maybe a hundred people to get a fun Minecraft graduation party for whoever was interested. It’s certainly grown and been self-sustaining since then.” The organizers are slowly building permissions to allow access for those who want to help.\u003c/p>\n\u003cfigure id=\"attachment_13879043\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879043\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Field.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A Minecraft version of Memorial Stadium, where graduation ceremonies were scheduled to take place on May 16. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hall and Lustic started with Memorial Stadium, where their graduation would have taken place on May 16. They worked on building the field and outlining bigger structures, but they also added details specific to their own Berkeley experiences. Both of them are former members of the Cal rowing team and trained in a storage area of the stadium.\u003c/p>\n\u003cp>“I rebuilt [the storage area] one night, and Hunter walks in and he’s like ‘Wow, it feels like I’m almost there,” says Lustic. “It’s really weird how the 1-1 ratio in Minecraft can bring a mental presence to actually being there. It resurfaces a lot of emotions that wouldn’t have really come up unless you actually went to that exact place.”\u003c/p>\n\u003cp>Fellow seniors Nick Pickett and Elliot Choi joined the project through one of the earlier Facebook posts on Overheard. A member of the Cal band, Pickett has his own special relationship to Memorial Stadium—specifically North Tunnel, where the band spends a lot of time before games.\u003c/p>\n\u003cp>“When I first logged on, I was kind of taken aback by how gorgeous the stadium was, because it’s freakishly accurate,” says Pickett. “But as I’m walking towards North Tunnel, I’m like, ‘Wait, this isn’t right.’” He then spent hours recreating the tunnel by referencing photos from his four years in the band. “It was kind of surreal. It was like putting a puzzle together that I already knew what it was supposed to look like,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13879040\" class=\"wp-caption aligncenter\" style=\"max-width: 1250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879040\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/BandTunnel.jpg\" alt=\"\" width=\"1250\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel.jpg 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel-800x922.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel-768x885.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel-1020x1175.jpg 1020w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003cfigcaption class=\"wp-caption-text\">North Tunnel, a familiar space to members of the band, recreated from personal memories and photographs. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Minecraft, the act of recreating those spots became a way to share the personal significance of otherwise easily overlooked nooks and crannies on the Berkeley campus. “Going around to the other side where the band and the football team are, I’ve never really walked through there—maybe twice in my life,” says Hall. “So it was cool to meet someone who knows it to a T.”\u003c/p>\n\u003cp>And for all the work they’ve done together, most of the students involved in building a Minecraft campus haven’t actually met one another in real life. “Nick and I have been in classes together for I think, like, the last four years,” says Hall, “but we hadn’t really spoken until we started working together.”\u003c/p>\n\u003cp>Every new person who joins the server adds another layer of unofficial Berkeley history to the project. “Google Images and Google Maps help us figure everything out, but each of us have very distinct memories of very near and dear locations,” says Pickett. “We might have our own personal photos that we can source to really get an accurate representation of campus for as many people as possible.”\u003c/p>\n\u003cp>“The point is to bring people together and have them be in a place that they remember liking and having good memories in during a time that we can’t,” Hall adds.\u003c/p>\n\u003cp>As graduation creeps closer, the group is focused on finishing what they refer to as “Blockeley University” by getting more and more people involved. In a perfect world, they say, the school would partner with them and give everyone who wants to participate a free Minecraft account for graduation day. “Or even Microsoft themselves,” adds Choi.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This post was updated to reflect that Bjorn Lustic and Hunter Hall are former, not current, members of the UC Berkeley rowing team, and that Lustic is not a graduating senior this year. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do you do if you’re a college senior with a sense of humor, a canceled graduation and, suddenly, a lot of spare time?\u003c/p>\n\u003cp>On March 15, UC Berkeley student Bjorn Lustic got the idea to recreate the graduation in Minecraft, a video game where the objective is to build structures by placing blocks around a 3D environment. He cites a sarcastic Facebook comment as the source of inspiration. A month, a few more Facebook posts and several thousand likes later, \u003ca href=\"https://www.facebook.com/events/244292959939686/\" target=\"_blank\" rel=\"noopener noreferrer\">the project\u003c/a> has grown into a full-scale recreation of the UC Berkeley campus with a waiting list of students trying to get in on the fun of construction.\u003c/p>\n\u003cp>When IRL events started to disappear around campus, students, like everyone else, turned to the internet. “It’s kind of a natural thing at this point to look online and look to virtual communities to hang out, that’s what we’re used to,” Lustic says.\u003c/p>\n\u003cfigure id=\"attachment_13879041\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Building_1200.jpg\" alt=\"\" width=\"1200\" height=\"760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200-1020x646.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Users at work building ‘Blockeley University.’ \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minecraft, owned by Microsoft, is a simple way for people to build digital structures, even for those without a background in engineering or architecture, but it’s also sentimental for people who grew up playing the game. “This game already has had a really big impact on our lives and our social interactions,” Lustic says. “I’ve been hanging out with friends on servers for like eight, nine years. Being able to do this in another school, another place, it brings back a lot of memories of being at home with friends.”\u003c/p>\n\u003cp>Lustic initially started working on the plan to build Memorial Stadium with his friend Hunter Hall. When they realized the two of them weren’t going to be able to complete the project by themselves, they posted in the Facebook group Overheard at UC Berkeley. A small but steady stream of students offered to help until early April, when one of their Facebook posts spread across the platform. “I guess we were shell shocked—at least I was,” says Hall of the overwhelming response. “I woke up at noon, and I was like, ‘Either something really good or something really bad has happened.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project previously had about ten people organizing on a Discord server. As news spread, over 500 students began applying to help use satellite data to create a 1-1 scale model of not just UC Berkeley landmarks, but the whole school. “Our intention was never to build the entire campus,” says Hall. “We were expecting maybe a few dozen, at most maybe a hundred people to get a fun Minecraft graduation party for whoever was interested. It’s certainly grown and been self-sustaining since then.” The organizers are slowly building permissions to allow access for those who want to help.\u003c/p>\n\u003cfigure id=\"attachment_13879043\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879043\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Field.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A Minecraft version of Memorial Stadium, where graduation ceremonies were scheduled to take place on May 16. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hall and Lustic started with Memorial Stadium, where their graduation would have taken place on May 16. They worked on building the field and outlining bigger structures, but they also added details specific to their own Berkeley experiences. Both of them are former members of the Cal rowing team and trained in a storage area of the stadium.\u003c/p>\n\u003cp>“I rebuilt [the storage area] one night, and Hunter walks in and he’s like ‘Wow, it feels like I’m almost there,” says Lustic. “It’s really weird how the 1-1 ratio in Minecraft can bring a mental presence to actually being there. It resurfaces a lot of emotions that wouldn’t have really come up unless you actually went to that exact place.”\u003c/p>\n\u003cp>Fellow seniors Nick Pickett and Elliot Choi joined the project through one of the earlier Facebook posts on Overheard. A member of the Cal band, Pickett has his own special relationship to Memorial Stadium—specifically North Tunnel, where the band spends a lot of time before games.\u003c/p>\n\u003cp>“When I first logged on, I was kind of taken aback by how gorgeous the stadium was, because it’s freakishly accurate,” says Pickett. “But as I’m walking towards North Tunnel, I’m like, ‘Wait, this isn’t right.’” He then spent hours recreating the tunnel by referencing photos from his four years in the band. “It was kind of surreal. It was like putting a puzzle together that I already knew what it was supposed to look like,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13879040\" class=\"wp-caption aligncenter\" style=\"max-width: 1250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879040\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/BandTunnel.jpg\" alt=\"\" width=\"1250\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel.jpg 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel-800x922.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel-768x885.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel-1020x1175.jpg 1020w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003cfigcaption class=\"wp-caption-text\">North Tunnel, a familiar space to members of the band, recreated from personal memories and photographs. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Minecraft, the act of recreating those spots became a way to share the personal significance of otherwise easily overlooked nooks and crannies on the Berkeley campus. “Going around to the other side where the band and the football team are, I’ve never really walked through there—maybe twice in my life,” says Hall. “So it was cool to meet someone who knows it to a T.”\u003c/p>\n\u003cp>And for all the work they’ve done together, most of the students involved in building a Minecraft campus haven’t actually met one another in real life. “Nick and I have been in classes together for I think, like, the last four years,” says Hall, “but we hadn’t really spoken until we started working together.”\u003c/p>\n\u003cp>Every new person who joins the server adds another layer of unofficial Berkeley history to the project. “Google Images and Google Maps help us figure everything out, but each of us have very distinct memories of very near and dear locations,” says Pickett. “We might have our own personal photos that we can source to really get an accurate representation of campus for as many people as possible.”\u003c/p>\n\u003cp>“The point is to bring people together and have them be in a place that they remember liking and having good memories in during a time that we can’t,” Hall adds.\u003c/p>\n\u003cp>As graduation creeps closer, the group is focused on finishing what they refer to as “Blockeley University” by getting more and more people involved. In a perfect world, they say, the school would partner with them and give everyone who wants to participate a free Minecraft account for graduation day. “Or even Microsoft themselves,” adds Choi.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This post was updated to reflect that Bjorn Lustic and Hunter Hall are former, not current, members of the UC Berkeley rowing team, and that Lustic is not a graduating senior this year. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Culture Clash Makes America (Still) Great Again at Berkeley Rep",
"headTitle": "Culture Clash Makes America (Still) Great Again at Berkeley Rep | KQED",
"content": "\u003cp>If the phrase “documentary theater” makes you think only of earnest excavations of a historical moment performed by a solo shape-shifting storyteller, you owe it to yourself to experience the boisterous irreverence of Culture Clash.\u003c/p>\n\u003cp>Formed in 1984 at Galería de la Raza in San Francisco’s Mission District—with early members including Marga Gomez and Monica Palacios—Culture Clash has created work as a trio since 1988. Using social satire as a frame for focusing attention on Chicano culture and the immigrant experience, Culture Clash uses laughter as a tool of subversion, giving its audiences an alternative history lesson of “America” from the point-of-view of its outsiders. Guillermo Gómez-Peña once dubbed the group “reverse anthropologists.”\u003c/p>\n\u003cp>Currently performing a mélange of their most seminal scenes plus some newer, timelier material at Berkeley Repertory Theatre, their familiarity with the Bay Area informs their humorous asides, including some knowing digs at Orinda, People’s Park protesters, and the Mission District-born Philz coffee.\u003c/p>\n\u003cfigure id=\"attachment_13875744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875744\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Montoya, Herbert Sigüenza, and Ricardo Salinas are here to document you in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Culture Clash is much more than their one-liners. For over 20 years, they’ve investigated the Chicano/Latino experience using the same rigorous documentarian approaches as theater-makers such as Anna Deavere Smith and Dan Hoyle. Criss-crossing the country, tape recorders and video cameras in hand, their interview subjects include couples in Miami Beach, new citizens at their naturalization ceremony, a hyper-active Nuyorican toting an old-school boombox, and a hopeful Middle-Eastern Uber driver observing dryly that “there is nothing in the Koran about raising an American teenager.” Occasionally, in the spirit of fun, they turn the cameras onto their audience, capturing every reaction with a cheerful thumbs up.\u003c/p>\n\u003cfigure id=\"attachment_13875743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875743\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricardo Salinas as a salsa-parsing Nuyorican in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a staccato burst of loosely-arranged sketches, \u003cem>Culture Clash (Still) in America\u003c/em>, directed by Lisa Peterson, explores its plurality of voices with good-natured portrayals. Even less sympathetic characters such as Floridian blowhard Todd (Herbert Sigüenza), whose casual racism and sexism dominates much of his discourse, seems weirdly vulnerable when confessing his emotional distance from his own family in comparison to that of his Cuban wife (Ricardo Salinas). She, in turn, belies her long-suffering subservience with smilingly delivered contradictions and a swift KO.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other beloved characters from older Culture Clash assemblages reemerge still glorious—such as Herbert Sigüenza’s portrayal of the charmingly candid Adelita, a trans health worker in the Mission who speaks of AIDS education, her macho boyfriend, and her own transition process. The two new citizens—Paolo and Oscar (Salinas and Sigüenza)—stick to their original script through much of the scene, but add the twist of a MAGA hat and an unexpected defense of the Philippines’ President Rodrigo Duterte. A pair of “woke” elders smoke out (Salinas with Richard Montoya) and observe the many ways the world has changed since their “revolutionary” youth, now including an awareness of proper pronoun use.\u003c/p>\n\u003cfigure id=\"attachment_13875740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875740\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricardo Salinas and Herbert Sigüenza as new citizens in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Richard Montoya skillfully portrays both sides of a less-evergreen border crossing story—as both a father whose child has been taken from him, and an overworked immigration lawyer working overtime on their reunification.\u003c/p>\n\u003cp>“It’s a humanitarian crisis,” he observes grimly. “Can a country that cages children…is that country still ‘America?’”\u003c/p>\n\u003cp>In that moment there are no laughs solicited and none given. In a work of mainly comedic vignettes, it stands out as a perhaps too-brief moment of political reckoning. An amalgamation of anger at a system bent on maximizing the humiliation and horror that awaits today’s border detainees, and anguish over the helplessness of even the law to combat it. No other moment in the show comes as close to breaking through the genial cocoon of comic relief, and one wonders how its perspective-shifting impact might have been sustained more thoroughly throughout the evening.\u003c/p>\n\u003cp>The camaraderie and synergy displayed by the three Clasheros onstage is by far the show’s great strength. Drawing on decades of collaboration and companionship, they slip into each character’s skin as easily as a pair of familiar shoes, carrying them ever-forward through each transition and scene change. They skillfully avoid the dead time that punctuates less practiced sketch comedy, and their innate stage presence never flags, even as they shift focus from one performer to another with practiced ease like well-matched athletes.\u003c/p>\n\u003cfigure id=\"attachment_13875741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875741\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Herbert Sigüenza as a poet of the revolution in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With just a few props and minimal set pieces (courtesy of Christopher Acebo) and key lighting moments (Tom Ontiveros), Culture Clash creates a vivid world populated by a multiplicity of voices who often seem very different. But from the Miami-based demolition experts praying for their next hurricane to the desperate detainee on the border giving his daughter an encouraging lie, the commonality they all reveal is the necessity and importance of hope. It may be but a small comfort for some. But at least it’s a comfort still available to the many.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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>\u003cem>‘Culture Clash (Still) in America’ runs Feb. 20-April 5 at Berkeley Repertory Theatre. \u003ca href=\"http://www.berkeleyrep.org/season/1920/14546.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the phrase “documentary theater” makes you think only of earnest excavations of a historical moment performed by a solo shape-shifting storyteller, you owe it to yourself to experience the boisterous irreverence of Culture Clash.\u003c/p>\n\u003cp>Formed in 1984 at Galería de la Raza in San Francisco’s Mission District—with early members including Marga Gomez and Monica Palacios—Culture Clash has created work as a trio since 1988. Using social satire as a frame for focusing attention on Chicano culture and the immigrant experience, Culture Clash uses laughter as a tool of subversion, giving its audiences an alternative history lesson of “America” from the point-of-view of its outsiders. Guillermo Gómez-Peña once dubbed the group “reverse anthropologists.”\u003c/p>\n\u003cp>Currently performing a mélange of their most seminal scenes plus some newer, timelier material at Berkeley Repertory Theatre, their familiarity with the Bay Area informs their humorous asides, including some knowing digs at Orinda, People’s Park protesters, and the Mission District-born Philz coffee.\u003c/p>\n\u003cfigure id=\"attachment_13875744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875744\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Montoya, Herbert Sigüenza, and Ricardo Salinas are here to document you in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Culture Clash is much more than their one-liners. For over 20 years, they’ve investigated the Chicano/Latino experience using the same rigorous documentarian approaches as theater-makers such as Anna Deavere Smith and Dan Hoyle. Criss-crossing the country, tape recorders and video cameras in hand, their interview subjects include couples in Miami Beach, new citizens at their naturalization ceremony, a hyper-active Nuyorican toting an old-school boombox, and a hopeful Middle-Eastern Uber driver observing dryly that “there is nothing in the Koran about raising an American teenager.” Occasionally, in the spirit of fun, they turn the cameras onto their audience, capturing every reaction with a cheerful thumbs up.\u003c/p>\n\u003cfigure id=\"attachment_13875743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875743\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricardo Salinas as a salsa-parsing Nuyorican in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a staccato burst of loosely-arranged sketches, \u003cem>Culture Clash (Still) in America\u003c/em>, directed by Lisa Peterson, explores its plurality of voices with good-natured portrayals. Even less sympathetic characters such as Floridian blowhard Todd (Herbert Sigüenza), whose casual racism and sexism dominates much of his discourse, seems weirdly vulnerable when confessing his emotional distance from his own family in comparison to that of his Cuban wife (Ricardo Salinas). She, in turn, belies her long-suffering subservience with smilingly delivered contradictions and a swift KO.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other beloved characters from older Culture Clash assemblages reemerge still glorious—such as Herbert Sigüenza’s portrayal of the charmingly candid Adelita, a trans health worker in the Mission who speaks of AIDS education, her macho boyfriend, and her own transition process. The two new citizens—Paolo and Oscar (Salinas and Sigüenza)—stick to their original script through much of the scene, but add the twist of a MAGA hat and an unexpected defense of the Philippines’ President Rodrigo Duterte. A pair of “woke” elders smoke out (Salinas with Richard Montoya) and observe the many ways the world has changed since their “revolutionary” youth, now including an awareness of proper pronoun use.\u003c/p>\n\u003cfigure id=\"attachment_13875740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875740\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricardo Salinas and Herbert Sigüenza as new citizens in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Richard Montoya skillfully portrays both sides of a less-evergreen border crossing story—as both a father whose child has been taken from him, and an overworked immigration lawyer working overtime on their reunification.\u003c/p>\n\u003cp>“It’s a humanitarian crisis,” he observes grimly. “Can a country that cages children…is that country still ‘America?’”\u003c/p>\n\u003cp>In that moment there are no laughs solicited and none given. In a work of mainly comedic vignettes, it stands out as a perhaps too-brief moment of political reckoning. An amalgamation of anger at a system bent on maximizing the humiliation and horror that awaits today’s border detainees, and anguish over the helplessness of even the law to combat it. No other moment in the show comes as close to breaking through the genial cocoon of comic relief, and one wonders how its perspective-shifting impact might have been sustained more thoroughly throughout the evening.\u003c/p>\n\u003cp>The camaraderie and synergy displayed by the three Clasheros onstage is by far the show’s great strength. Drawing on decades of collaboration and companionship, they slip into each character’s skin as easily as a pair of familiar shoes, carrying them ever-forward through each transition and scene change. They skillfully avoid the dead time that punctuates less practiced sketch comedy, and their innate stage presence never flags, even as they shift focus from one performer to another with practiced ease like well-matched athletes.\u003c/p>\n\u003cfigure id=\"attachment_13875741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875741\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Herbert Sigüenza as a poet of the revolution in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With just a few props and minimal set pieces (courtesy of Christopher Acebo) and key lighting moments (Tom Ontiveros), Culture Clash creates a vivid world populated by a multiplicity of voices who often seem very different. But from the Miami-based demolition experts praying for their next hurricane to the desperate detainee on the border giving his daughter an encouraging lie, the commonality they all reveal is the necessity and importance of hope. It may be but a small comfort for some. But at least it’s a comfort still available to the many.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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>\u003cem>‘Culture Clash (Still) in America’ runs Feb. 20-April 5 at Berkeley Repertory Theatre. \u003ca href=\"http://www.berkeleyrep.org/season/1920/14546.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is no sound on Earth quite like the music of Mulatu Astatke. Though Ethiopia is his home, every six years or so a new group of music listeners in the United States discovers his signature sound—based on a five-tone pentatonic scale, with all sorts of wonderful melodies and tonality swirling around. In 1972, Astatke toured extensively with Duke Ellington. And 15 years ago, the film director Jim Jarmusch used Astatke’s songs to great effect in the movie \u003cem>Broken Flowers\u003c/em>, prompting a revival of interest in his music. Luckily for us, at 76 years old, Astatke is still touring, conducting and playing behind the vibraphones. Mulatu Astatke brings his group to town for two nights, Feb. 28 and 29, at the UC Theatre in Berkeley. \u003ca href=\"https://www.theuctheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>I remember seeing a movie in 2001 and thinking afterward that I’d just watched a \u003cem>Rocky Horror Picture Show\u003c/em> for a new generation. The songs were better, the story more tender, and I knew it would last and last in cult screenings for decades. The film, of course, was \u003cem>Hedwig and the Angry Inch\u003c/em>, which as it turns out, has lasted for nearly 20 years. Since 2001, it’s lived on in midnight screenings, a hit Broadway revival, and in various stagings around the world.\u003c/p>\n\u003cp>But one person has been largely absent from the stage throughout it all: Hedwig co-creator and original star, John Cameron Mitchell. This week, Mitchell comes to the Bay Area for a night called \u003cem>The Origin of Love\u003c/em>, and with his Hedwig co-creator Stephan Trask, he tells stories about the film, sings a handful of its beautiful songs, and brings the spirit of Hedwig to life as only he can. That’s on Saturday, Feb. 29, at Zellerbach Hall in Berkeley.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "A BAMPFA Show Empowers Student Curators to Share Their View of California",
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"content": "\u003cp>At the Berkeley Art Museum and Pacific Film Archive, a show about California’s geography begins with a wall of people. Catherine Opie’s intimate photograph of two farmworkers wrapped in a butch embrace bleeds into an early photo of Jello Biafra smashing his mouth against a microphone. His hyper-masculinity contrasts starkly with a row of women, photographed by Pirkle Jones, throwing their fists up to signal black power. These people, easily associated with the Bay Area and its unique history, are translated by the show’s narrative into economic and social landscapes, demonstrating how a geographic underpinning defines the way people create and occupy space. \u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://bampfa.org/program/lands-promise-and-peril-geographies-california\" rel=\"noopener noreferrer\" target=\"_blank\">Land of Promise and Peril: Geographies of California\u003c/a>\u003c/i> is the latest iteration of Cal Conversations, BAMPFA’s collaborative series with UC Berkeley. As members of a UC Berkeley undergraduate course, students select work from the museum’s vast collection to curate an exhibition, empowering them to bring their perspectives and political concerns to the public. \u003c/p>\n\u003cp>The show is primarily composed of medium-format photographs, which associate curator Stephanie Cannizzo—who supported geography professor Seth Lunine and his California geography class in designing the exhibition—explained relates to the students’ desire to feature as many artists as possible. This contributed to the show’s diverse array of artists, featuring work by Dorothea Lange, Bill Owens, Chiura Obata, Kim Abeles, Ruth-Marion Baruch and at least a dozen others. \u003c/p>\n\u003cfigure id=\"attachment_13873393\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Elveena_Slate-Bluff-Mining.jpg\" alt=\"\" width=\"1500\" height=\"1155\" class=\"size-full wp-image-13873393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Elveena_Slate-Bluff-Mining.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Elveena_Slate-Bluff-Mining-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Elveena_Slate-Bluff-Mining-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Elveena_Slate-Bluff-Mining-768x591.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Elveena_Slate-Bluff-Mining-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Elveena_Slate-Bluff-Mining-1200x924.jpg 1200w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Charles Elveena, ‘Slate Bluff Mining Company,’ 1869. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few standout multimedia pieces are included, such as artist Brian D. Tripp’s 1992 collage. Combining thin sheets of colored plastic, which have the reflective qualities of tinfoil, the artist spells out “they think they own the place” in reds and yellows. Eminently striking, the piece is made more interesting by its explicit relationship to geography. The hard-edge motifs in Tripp’s work reference Karuk geography, the tribe to which he belongs, and it was made to commemorate the 500th anniversary of America’s “discovery.” A favorite of the curatorial team, it centers many critical intersections of race, colonization, and resource extraction. \u003c/p>\n\u003cp>In student curator Jocelyn Gama’s \u003ca href=\"https://bampfa.org/page/california-dreaming-student-reflections-golden-state\" rel=\"noopener noreferrer\" target=\"_blank\">reflection\u003c/a>, she writes that “the metallic and crinkly silver material in Brian Tripp’s artwork … reminds me of the aluminum-colored blankets ICE agents give children and families currently incarcerated in ICE detention centers.” She adds, “The battle is not over.” \u003c/p>\n\u003cp>[aside postID='news_11795944']The political necessity of addressing the ownership, and subsequent policing, of land is felt throughout the show. A miniature Victorian sits in the gallery’s center, rarified, and entrapped in a glass vitrine. Artists Kate Ericson and Mel Ziegler painstakingly wrote every San Francisco street name on the model house’s roof for \u003cem>Peaks and Valleys Maquette\u003c/em> (1991). The students’ wall text interrogates who gets to live in a house in the Bay Area, and why—an all too timely question. The work brings to mind the \u003ca href=\"https://moms4housing.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Moms 4 Housing\u003c/a> movement, which began in West Oakland when four homeless mothers moved into a vacant house, owned by a speculative real estate developer, to protest housing insecurity. \u003c/p>\n\u003cfigure id=\"attachment_13873392\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Misrach_Swimming-pool_1200.jpg\" alt=\"\" width=\"1200\" height=\"958\" class=\"size-full wp-image-13873392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Misrach_Swimming-pool_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Misrach_Swimming-pool_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Misrach_Swimming-pool_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Misrach_Swimming-pool_1200-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Misrach_Swimming-pool_1200-1020x814.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Richard Misrach, ‘Untitled (OF 104-91: Swimming Pool),’ from ‘1991: The Oakland-Berkeley Fire Aftermath,’ 1991. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking forward, Richard Misrach’s \u003cem>Untitled (OF 104-91: Swimming Pool)\u003c/em> suggests a grim future by documenting past devastation. The arresting photograph captures a placid swimming pool, framed on all sides by the ravages of the 1991 East Bay Hills fire. The image is foreboding, reminding one that speculative property development and aggressive suburbanization are no match for the laws of nature.\u003c/p>\n\u003cp>Despite the almost incomprehensible danger articulated by climate change, dialogues fostered by \u003cem>Lands of Promise and Peril\u003c/em>—between artists, educational institutions and young people—inspire hope. Through curating, students gained important political insight into archival access and power.\u003c/p>\n\u003cp>One lesson came, unexpectedly, from featured artist Brian D. Tripp. Upon receipt of the show’s permission form, he reproduced the legal contract and upgraded it. He made one for each student curator and wrote “they think they own the place, but we know better,” signing his name in silver marker. “Like a work of art,” observed Cannizzo. \u003c/p>\n\u003cp>The show’s wall text charts student thoughts as the class grappled with California’s many contradictions and posed questions about representation, identity, and technology in the state’s geography. The pedagogical importance of curating \u003cem>Lands of Promise and Peril\u003c/em> is perhaps its greatest strength. “Several of my students had never been to a museum before,” Professor Lunine reflected, “and they didn’t understand that BAMPFA is their museum, they can go for free and they should feel a sense of ownership over the space. Curating this show changed that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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>\u003ci>‘Land of Promise and Peril: Geographies of California’\u003c/i> is on view through April 26, 2020 at the Berkeley Art Museum and Pacific Film Archive. \u003ca href=\"https://bampfa.org/program/lands-promise-and-peril-geographies-california\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the Berkeley Art Museum and Pacific Film Archive, a show about California’s geography begins with a wall of people. Catherine Opie’s intimate photograph of two farmworkers wrapped in a butch embrace bleeds into an early photo of Jello Biafra smashing his mouth against a microphone. His hyper-masculinity contrasts starkly with a row of women, photographed by Pirkle Jones, throwing their fists up to signal black power. These people, easily associated with the Bay Area and its unique history, are translated by the show’s narrative into economic and social landscapes, demonstrating how a geographic underpinning defines the way people create and occupy space. \u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://bampfa.org/program/lands-promise-and-peril-geographies-california\" rel=\"noopener noreferrer\" target=\"_blank\">Land of Promise and Peril: Geographies of California\u003c/a>\u003c/i> is the latest iteration of Cal Conversations, BAMPFA’s collaborative series with UC Berkeley. As members of a UC Berkeley undergraduate course, students select work from the museum’s vast collection to curate an exhibition, empowering them to bring their perspectives and political concerns to the public. \u003c/p>\n\u003cp>The show is primarily composed of medium-format photographs, which associate curator Stephanie Cannizzo—who supported geography professor Seth Lunine and his California geography class in designing the exhibition—explained relates to the students’ desire to feature as many artists as possible. This contributed to the show’s diverse array of artists, featuring work by Dorothea Lange, Bill Owens, Chiura Obata, Kim Abeles, Ruth-Marion Baruch and at least a dozen others. \u003c/p>\n\u003cfigure id=\"attachment_13873393\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Elveena_Slate-Bluff-Mining.jpg\" alt=\"\" width=\"1500\" height=\"1155\" class=\"size-full wp-image-13873393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Elveena_Slate-Bluff-Mining.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Elveena_Slate-Bluff-Mining-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Elveena_Slate-Bluff-Mining-800x616.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Elveena_Slate-Bluff-Mining-768x591.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Elveena_Slate-Bluff-Mining-1020x785.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Elveena_Slate-Bluff-Mining-1200x924.jpg 1200w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Charles Elveena, ‘Slate Bluff Mining Company,’ 1869. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few standout multimedia pieces are included, such as artist Brian D. Tripp’s 1992 collage. Combining thin sheets of colored plastic, which have the reflective qualities of tinfoil, the artist spells out “they think they own the place” in reds and yellows. Eminently striking, the piece is made more interesting by its explicit relationship to geography. The hard-edge motifs in Tripp’s work reference Karuk geography, the tribe to which he belongs, and it was made to commemorate the 500th anniversary of America’s “discovery.” A favorite of the curatorial team, it centers many critical intersections of race, colonization, and resource extraction. \u003c/p>\n\u003cp>In student curator Jocelyn Gama’s \u003ca href=\"https://bampfa.org/page/california-dreaming-student-reflections-golden-state\" rel=\"noopener noreferrer\" target=\"_blank\">reflection\u003c/a>, she writes that “the metallic and crinkly silver material in Brian Tripp’s artwork … reminds me of the aluminum-colored blankets ICE agents give children and families currently incarcerated in ICE detention centers.” She adds, “The battle is not over.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The political necessity of addressing the ownership, and subsequent policing, of land is felt throughout the show. A miniature Victorian sits in the gallery’s center, rarified, and entrapped in a glass vitrine. Artists Kate Ericson and Mel Ziegler painstakingly wrote every San Francisco street name on the model house’s roof for \u003cem>Peaks and Valleys Maquette\u003c/em> (1991). The students’ wall text interrogates who gets to live in a house in the Bay Area, and why—an all too timely question. The work brings to mind the \u003ca href=\"https://moms4housing.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Moms 4 Housing\u003c/a> movement, which began in West Oakland when four homeless mothers moved into a vacant house, owned by a speculative real estate developer, to protest housing insecurity. \u003c/p>\n\u003cfigure id=\"attachment_13873392\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Misrach_Swimming-pool_1200.jpg\" alt=\"\" width=\"1200\" height=\"958\" class=\"size-full wp-image-13873392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Misrach_Swimming-pool_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Misrach_Swimming-pool_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Misrach_Swimming-pool_1200-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Misrach_Swimming-pool_1200-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Misrach_Swimming-pool_1200-1020x814.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Richard Misrach, ‘Untitled (OF 104-91: Swimming Pool),’ from ‘1991: The Oakland-Berkeley Fire Aftermath,’ 1991. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking forward, Richard Misrach’s \u003cem>Untitled (OF 104-91: Swimming Pool)\u003c/em> suggests a grim future by documenting past devastation. The arresting photograph captures a placid swimming pool, framed on all sides by the ravages of the 1991 East Bay Hills fire. The image is foreboding, reminding one that speculative property development and aggressive suburbanization are no match for the laws of nature.\u003c/p>\n\u003cp>Despite the almost incomprehensible danger articulated by climate change, dialogues fostered by \u003cem>Lands of Promise and Peril\u003c/em>—between artists, educational institutions and young people—inspire hope. Through curating, students gained important political insight into archival access and power.\u003c/p>\n\u003cp>One lesson came, unexpectedly, from featured artist Brian D. Tripp. Upon receipt of the show’s permission form, he reproduced the legal contract and upgraded it. He made one for each student curator and wrote “they think they own the place, but we know better,” signing his name in silver marker. “Like a work of art,” observed Cannizzo. \u003c/p>\n\u003cp>The show’s wall text charts student thoughts as the class grappled with California’s many contradictions and posed questions about representation, identity, and technology in the state’s geography. The pedagogical importance of curating \u003cem>Lands of Promise and Peril\u003c/em> is perhaps its greatest strength. “Several of my students had never been to a museum before,” Professor Lunine reflected, “and they didn’t understand that BAMPFA is their museum, they can go for free and they should feel a sense of ownership over the space. Curating this show changed that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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>\u003ci>‘Land of Promise and Peril: Geographies of California’\u003c/i> is on view through April 26, 2020 at the Berkeley Art Museum and Pacific Film Archive. \u003ca href=\"https://bampfa.org/program/lands-promise-and-peril-geographies-california\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“I know you want me to tear my clothes off so you can look your 50 cents worth,” the cabaret dancer says, scolding her audience from the edge of a stage. “Fifty cents for the privilege of staring at a girl the way your wives won’t let you. What do you suppose we think of you up here? With your silly smirks your mothers would be ashamed of. What’s it for? So’s you can go home when the show’s over and strut before your wives…? I am sure they see through you just like we do.”\u003c/p>\n\u003cp>It’s a scene so unerringly feminist, it’s hard to believe it was filmed in 1940. \u003cem>Dance, Girl, Dance\u003c/em>, a movie that presented dancers as smart and complex at a time when they were more commonly used on screen as little more than background color, was extremely bold. And its landmark scene was par for the course for rebel director Dorothy Arzner.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fljry1HocUY\u003c/p>\n\u003cp>Born in San Francisco in 1897, Arzner spent most of her life in Southern California. What’s clear about the mark she left on the world, however, is that the rebellious spirit of San Francisco stayed with her long after she left. That fearlessness is visible in her film choices, as well as how she conducted her personal life—she was an out and unabashedly butch lesbian at a time when homosexuality was widely condemned. [aside postid='arts_13870056']\u003c/p>\n\u003cp>Unshakeable in her commitment to elevating female figures on screen, Arzner’s movies pulled no punches in presenting women as they’d never really been seen before. Both 1931’s \u003cem>Working Girls\u003c/em> and 1933’s \u003cem>Christopher Strong\u003c/em> featured plots in which unmarried women got pregnant—an extremely taboo subject at the time—and highlighted the damage wrought by stigmatizing women in trouble. In \u003cem>Christopher Strong\u003c/em>, even Katherine Hepburn’s go-getting pilot chooses to commit suicide rather than face the public shame of the world finding out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arzner never held back when it came to her views on marriage, either. Instead of the Hollywood romance usually associated with the institution, she presented it as a trap women were forced into for social and financial security. \u003cem>Working Girls\u003c/em>, \u003cem>Craig’s Wife\u003c/em> (1936) and \u003cem>Merrily We Go To A Hell\u003c/em> (1932) were all critical of the institution. The latter even featured a wife proposing an open marriage after finding out her husband has cheated.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QrD71wADp0w\u003c/p>\n\u003cp>While not the first female director in the world, Arzner was \u003ca href=\"https://en.wikipedia.org/wiki/Dorothy_Arzner\" target=\"_blank\" rel=\"noopener noreferrer\">the only one\u003c/a> working in Hollywood for the entirety of her movie directing career (1927-1943). She was also the first woman to be accepted into the Director’s Guild of America. Not for nothing. Her moviemaking knowledge was built on sturdy foundations of experience, starting in 1919 with her first job as a silent film stenographer. From there, she graduated onto scriptwriting, and then onto film editing. Her directorial debut came in the form of 1927’s \u003cem>Fashions for Women,\u003c/em> and three other silent films followed.\u003c/p>\n\u003cp>In 1929, Arzner was given the great distinction of directing Paramount’s first talkie, \u003cem>The Wild Party, \u003c/em>and she took the challenge on with great innovation and aplomb. When the star of the film, Clara Bow, began struggling to adjust to non-silent set conditions (she was awkwardly checking the positions of microphones mid-scene), Arzner solved the issue by dangling a mic from a fishing line above. Just like that, the boom mic was born. [aside postid='arts_13879147']\u003c/p>\n\u003cp>After directing her final movie (1943’s \u003ca href=\"https://en.wikipedia.org/wiki/First_Comes_Courage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>First Comes Courage\u003c/em>\u003c/a>, about a female member of the WWII resistance), Arzner directed training videos for the wartime Women’s Army Corps and made dozens of Pepsi-Cola commercials before going on to teach. Arzner’s first classes were at the Pasadena Playhouse, and in 1961, she began teaching at UCLA’s film school. (Interestingly, Arzner’s partner of over 40 years, \u003ca href=\"https://en.wikipedia.org/wiki/Marion_Morgan_(choreographer)\" target=\"_blank\" rel=\"noopener noreferrer\">Marion Morgan\u003c/a>, made a similar transition, moving from life as a Hollywood choreographer to teaching dance at \u003ca href=\"https://books.google.com/books?id=nmQvAQAAMAAJ&pg=PR74&lpg=PR74&dq=marion+morgan+summer+school+berkeley&source=bl&ots=MtBlJXpBow&sig=ACfU3U3XeGZlAtJHqZUIPWz97MqC8jMAoQ&hl=en&sa=X&ved=2ahUKEwj5j8Wg4fnmAhX3CTQIHdHhA0gQ6AEwAXoECAoQAQ#v=onepage&q=marion%20morgan%20summer%20school%20berkeley&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">both UC Berkeley and UCLA\u003c/a>.)\u003c/p>\n\u003cp>Arzner’s time at UCLA left a lasting impression on a multitude of students, including Francis Ford Coppola, who moved to San Francisco shortly after graduating from her class. After lobbying Paramount to name a building on its Hollywood lot after Arzner in 2018, Coppola appeared before the new Dorothy Arzner office and talked fondly of his mentor, calling her “salty and sort of tough, but with a heart as big as the world.”\u003c/p>\n\u003cp>At the end of his \u003ca href=\"https://www.hollywoodreporter.com/news/francis-ford-coppola-joins-paramount-honoring-dorothy-arzner-1090127\" target=\"_blank\" rel=\"noopener noreferrer\">touching speech\u003c/a>, Coppola turned toward a large black-and-white photo of Arzner, showing her working diligently behind a camera, and said: “I can never thank you enough for what helped me for the next 58 years of my career.” In a \u003ca href=\"https://theluxurychannel.com/magazine/the-godfathers-godmother-francis-ford-coppola-on-female-film-makers/\" target=\"_blank\" rel=\"noopener noreferrer\">separate interview\u003c/a>, Coppola noted: “I think what meant so much, as I always had self-doubt, was that she would say: ‘You are going to do fine.’ She was very famous. I just had the good luck that I was her student.”\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I know you want me to tear my clothes off so you can look your 50 cents worth,” the cabaret dancer says, scolding her audience from the edge of a stage. “Fifty cents for the privilege of staring at a girl the way your wives won’t let you. What do you suppose we think of you up here? With your silly smirks your mothers would be ashamed of. What’s it for? So’s you can go home when the show’s over and strut before your wives…? I am sure they see through you just like we do.”\u003c/p>\n\u003cp>It’s a scene so unerringly feminist, it’s hard to believe it was filmed in 1940. \u003cem>Dance, Girl, Dance\u003c/em>, a movie that presented dancers as smart and complex at a time when they were more commonly used on screen as little more than background color, was extremely bold. And its landmark scene was par for the course for rebel director Dorothy Arzner.\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/Fljry1HocUY'\n title='//www.youtube.com/embed/Fljry1HocUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born in San Francisco in 1897, Arzner spent most of her life in Southern California. What’s clear about the mark she left on the world, however, is that the rebellious spirit of San Francisco stayed with her long after she left. That fearlessness is visible in her film choices, as well as how she conducted her personal life—she was an out and unabashedly butch lesbian at a time when homosexuality was widely condemned. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unshakeable in her commitment to elevating female figures on screen, Arzner’s movies pulled no punches in presenting women as they’d never really been seen before. Both 1931’s \u003cem>Working Girls\u003c/em> and 1933’s \u003cem>Christopher Strong\u003c/em> featured plots in which unmarried women got pregnant—an extremely taboo subject at the time—and highlighted the damage wrought by stigmatizing women in trouble. In \u003cem>Christopher Strong\u003c/em>, even Katherine Hepburn’s go-getting pilot chooses to commit suicide rather than face the public shame of the world finding out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arzner never held back when it came to her views on marriage, either. Instead of the Hollywood romance usually associated with the institution, she presented it as a trap women were forced into for social and financial security. \u003cem>Working Girls\u003c/em>, \u003cem>Craig’s Wife\u003c/em> (1936) and \u003cem>Merrily We Go To A Hell\u003c/em> (1932) were all critical of the institution. The latter even featured a wife proposing an open marriage after finding out her husband has cheated.\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/QrD71wADp0w'\n title='//www.youtube.com/embed/QrD71wADp0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While not the first female director in the world, Arzner was \u003ca href=\"https://en.wikipedia.org/wiki/Dorothy_Arzner\" target=\"_blank\" rel=\"noopener noreferrer\">the only one\u003c/a> working in Hollywood for the entirety of her movie directing career (1927-1943). She was also the first woman to be accepted into the Director’s Guild of America. Not for nothing. Her moviemaking knowledge was built on sturdy foundations of experience, starting in 1919 with her first job as a silent film stenographer. From there, she graduated onto scriptwriting, and then onto film editing. Her directorial debut came in the form of 1927’s \u003cem>Fashions for Women,\u003c/em> and three other silent films followed.\u003c/p>\n\u003cp>In 1929, Arzner was given the great distinction of directing Paramount’s first talkie, \u003cem>The Wild Party, \u003c/em>and she took the challenge on with great innovation and aplomb. When the star of the film, Clara Bow, began struggling to adjust to non-silent set conditions (she was awkwardly checking the positions of microphones mid-scene), Arzner solved the issue by dangling a mic from a fishing line above. Just like that, the boom mic was born. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After directing her final movie (1943’s \u003ca href=\"https://en.wikipedia.org/wiki/First_Comes_Courage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>First Comes Courage\u003c/em>\u003c/a>, about a female member of the WWII resistance), Arzner directed training videos for the wartime Women’s Army Corps and made dozens of Pepsi-Cola commercials before going on to teach. Arzner’s first classes were at the Pasadena Playhouse, and in 1961, she began teaching at UCLA’s film school. (Interestingly, Arzner’s partner of over 40 years, \u003ca href=\"https://en.wikipedia.org/wiki/Marion_Morgan_(choreographer)\" target=\"_blank\" rel=\"noopener noreferrer\">Marion Morgan\u003c/a>, made a similar transition, moving from life as a Hollywood choreographer to teaching dance at \u003ca href=\"https://books.google.com/books?id=nmQvAQAAMAAJ&pg=PR74&lpg=PR74&dq=marion+morgan+summer+school+berkeley&source=bl&ots=MtBlJXpBow&sig=ACfU3U3XeGZlAtJHqZUIPWz97MqC8jMAoQ&hl=en&sa=X&ved=2ahUKEwj5j8Wg4fnmAhX3CTQIHdHhA0gQ6AEwAXoECAoQAQ#v=onepage&q=marion%20morgan%20summer%20school%20berkeley&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">both UC Berkeley and UCLA\u003c/a>.)\u003c/p>\n\u003cp>Arzner’s time at UCLA left a lasting impression on a multitude of students, including Francis Ford Coppola, who moved to San Francisco shortly after graduating from her class. After lobbying Paramount to name a building on its Hollywood lot after Arzner in 2018, Coppola appeared before the new Dorothy Arzner office and talked fondly of his mentor, calling her “salty and sort of tough, but with a heart as big as the world.”\u003c/p>\n\u003cp>At the end of his \u003ca href=\"https://www.hollywoodreporter.com/news/francis-ford-coppola-joins-paramount-honoring-dorothy-arzner-1090127\" target=\"_blank\" rel=\"noopener noreferrer\">touching speech\u003c/a>, Coppola turned toward a large black-and-white photo of Arzner, showing her working diligently behind a camera, and said: “I can never thank you enough for what helped me for the next 58 years of my career.” In a \u003ca href=\"https://theluxurychannel.com/magazine/the-godfathers-godmother-francis-ford-coppola-on-female-film-makers/\" target=\"_blank\" rel=\"noopener noreferrer\">separate interview\u003c/a>, Coppola noted: “I think what meant so much, as I always had self-doubt, was that she would say: ‘You are going to do fine.’ She was very famous. I just had the good luck that I was her student.”\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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