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"title": "At CounterPulse, Keith Hennessy's 'Back' Is a Contemplative, 'Gentler' Work",
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"content": "\u003cp>In the contemporary dance world, a new solo by Keith Hennessy would normally open with some ballyhoo, and on a weekend evening, around 8pm. That’s not happening this time.\u003c/p>\n\u003cp>For all the forthrightness of its title, \u003cem>Back (all I wanna do is dance and fuck and swim with you)\u003c/em> is presented modestly and almost furtively, over a cluster of six odd days (one purposefully not listed but only advertised by word-of-mouth), at off hours, and for a ticket price that starts at a judgment-free zero.\u003c/p>\n\u003cp>The audience that shows up, amid \u003cem>Back\u003c/em>’s low-key promotion and off-kilter schedule, will huddle on the floor of the CounterPulse stage for an hour, in the semi-round, before the mostly naked, mostly silent sixty-something dancer-choreographer.\u003c/p>\n\u003cp>The near-silence will be the most conspicuous detail for admirers of Hennessy’s work, which frequently features dazzling torrents of words, whether as monologue, rhyme, lecture or screed. He is a master of the extended curtain speech, a form of audience ambuscade few besides Hennessy can really get away with. (This time, he says, he’s limiting himself to five minutes.)\u003c/p>\n\u003cp>Almost nothing about Hennessy’s new work is typical. Frantic, screaming, dizzying and doomy times like these, he seems to be suggesting, call for something altogether softer, subtler, and bare. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted it to be this thing that’s outside the grid a little bit,” he says.\u003c/p>\n\u003ch2>Nature’s Sensuality\u003c/h2>\n\u003cp>The piece—created for Oslo’s LATERNA Festival, where it premiered in June—comes out of an exceptional set of circumstances, not least the pandemic. Covid upended or stalled everything on Hennessy’s professional calendar for 12 months. Hennessy channeled his energies accordingly.\u003c/p>\n\u003cp>“There were a whole bunch of [photo- and video-based] experiments I did of dancing naked outdoors during Covid,” he explains during a recent visit to his Mission District flat.\u003c/p>\n\u003cp>“First by myself, then with Nathaniel Moore, and one little project with Nathaniel and Brontez Purnell. Those pieces were, in a way, thinking through what it means to be outside because we can’t be inside. Being outside puts you into a relationship with nature and the urban environment, colliding realities that overlap. \u003c/p>\n\u003cp>[aside postID='arts_13917757']“What’s touch? What’s the erotic body? There started to become almost an eco-sexual aspect to it, rolling in sand and being in the ocean, the sensuality of being outside, on the rocks of the Yuba River.”\u003c/p>\n\u003cp>Meanwhile, Hennessy says turning 60 spurred self-reflection and exploration, including an express re-acquaintance with his libido. Then Covid pushed him for the first time onto apps like SCRUFF and Grindr. \u003c/p>\n\u003cp>“It hadn’t been my thing,” he explains. “I meet people through my work, through my politics, through social life, and I’d been partnered for many years. All of a sudden I was single, horny, trying to pick up my sex life, and going online. I now entered this world of visual porn through the naked selfie that you share with other people.”\u003c/p>\n\u003cp>Perhaps unsurprisingly, worlds started to merge.\u003c/p>\n\u003ch2>Always Moving\u003c/h2>\n\u003cp>\u003cem>Back\u003c/em> represents the confluence of many rivers, the Yuba being the most literal. In the front room of his apartment, Hennessy lays out some of the costumes and properties for the show, explaining that most are intentionally recycled from past works. \u003c/p>\n\u003cp>There are, for instance, pieces from 2016’s \u003cem>Sara (the smuggler)\u003c/em> and 2015’s \u003cem>Bear/Skin\u003c/em>, and a costume of plastic shopping bags used just last year in his choreography for Latvian dancers at the Homo Novus festival in Riga.\u003c/p>\n\u003cp>There’s also an original piece by costumer and longtime collaborator Jack Davis that repurposes sections of the wedding dresses doused in pink house paint for \u003cem>The Pink Party\u003c/em> (2001-2002), ingeniously weaving the salvaged pieces together to form a toreador jacket. \u003c/p>\n\u003cp>\u003cem>Back\u003c/em> even includes repurposed music—a piece by Joel St. Julien that Hennessy danced to in Larry Arrington and Alexa Burrell’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13912270/odc-larry-arrington-alexa-burrell-wowmom-astrology-preview\" rel=\"noopener noreferrer\" target=\"_blank\">w o w m o m\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>[aside postID='arts_13872290']That work, which capped dancer-choreographer Arrington’s residency at ODC in April, featured the normally kinetic Hennessy seated in a chair against a giant video projection and rivetingly moving sideways through a glacial Butohesque arc.\u003c/p>\n\u003cp>Arrington—who was an ensemble member in Hennessy’s monumental and continually self-destructing \u003cem>Turbulence (a dance about the economy)\u003c/em>, which shook the rafters at YBCA in 2012—has seen \u003cem>Back\u003c/em> in rehearsal and registers a purity in it.\u003c/p>\n\u003cp>“I sometimes think dance can be really cynical,” she says, “especially if you think about nonprofits and funding and grants. It’s always about what ‘impact’ can dance make. Dance is always this method for something else. Keith is someone who believes that dance-ing is enough in a way. \u003c/p>\n\u003cp>“I think that’s part of what this piece is. In the midst of what feels like overwhelming crisis, he’s said, ‘Ok, so then I have to dance.’ A lot of people said, ‘I have to stop for a while,’ at least in the beginning of Covid. That’s not the case with him.”\u003c/p>\n\u003cp>At his core, Arrington sees Hennessy “as a dance person, a body person, a movement person. I think it’s extraordinarily difficult, especially under late-stage Covid-era capitalism,” she adds, “but Keith has never let alienation become a force that stops him from moving towards things.” \u003c/p>\n\u003ch2>A Short, Guided Dance Trip\u003c/h2>\n\u003cp>“In making a piece contemplative of the erotic body,” says Hennessy, there follows the question, “How do we think through the mental instability of the world? The increasing anxiety and depression that have one hundred percent intensified because of the neoliberal impact on the psyche as well as the psychological professions?” \u003c/p>\n\u003cp>Instead, Hennessy decided to make something without thinking. “I’ve ended up making this piece that’s gentler on my body, gentler on the mind. It’s not without its subtle provocations, but it’s a gentler work than I’ve made before.”\u003c/p>\n\u003cp>[aside postID='arts_13916333']The music, Hennessy says, is “very ambient and dreamscape-y. There’s a bit more space to feel. Things aren’t just coming at you quickly.” \u003c/p>\n\u003cp>Amid the mayhem of the moment, \u003cem>Back\u003c/em> is a short, guided dance trip, then, a measure of art medicine for a microdosing age. The gesture feels exactly right. The sense will be in the unfolding, for audience and artist alike.\u003c/p>\n\u003cp>“I didn’t make the piece to mean something,“ Hennessy makes clear. “I made the work, and now I’m learning what it means.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Back (all I wanna do is dance and fuck and swim with you)’ runs Sept. 14–24 at CounterPulse in San Francisco. \u003ca href=\"https://counterpulse.org/event/back/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the contemporary dance world, a new solo by Keith Hennessy would normally open with some ballyhoo, and on a weekend evening, around 8pm. That’s not happening this time.\u003c/p>\n\u003cp>For all the forthrightness of its title, \u003cem>Back (all I wanna do is dance and fuck and swim with you)\u003c/em> is presented modestly and almost furtively, over a cluster of six odd days (one purposefully not listed but only advertised by word-of-mouth), at off hours, and for a ticket price that starts at a judgment-free zero.\u003c/p>\n\u003cp>The audience that shows up, amid \u003cem>Back\u003c/em>’s low-key promotion and off-kilter schedule, will huddle on the floor of the CounterPulse stage for an hour, in the semi-round, before the mostly naked, mostly silent sixty-something dancer-choreographer.\u003c/p>\n\u003cp>The near-silence will be the most conspicuous detail for admirers of Hennessy’s work, which frequently features dazzling torrents of words, whether as monologue, rhyme, lecture or screed. He is a master of the extended curtain speech, a form of audience ambuscade few besides Hennessy can really get away with. (This time, he says, he’s limiting himself to five minutes.)\u003c/p>\n\u003cp>Almost nothing about Hennessy’s new work is typical. Frantic, screaming, dizzying and doomy times like these, he seems to be suggesting, call for something altogether softer, subtler, and bare. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted it to be this thing that’s outside the grid a little bit,” he says.\u003c/p>\n\u003ch2>Nature’s Sensuality\u003c/h2>\n\u003cp>The piece—created for Oslo’s LATERNA Festival, where it premiered in June—comes out of an exceptional set of circumstances, not least the pandemic. Covid upended or stalled everything on Hennessy’s professional calendar for 12 months. Hennessy channeled his energies accordingly.\u003c/p>\n\u003cp>“There were a whole bunch of [photo- and video-based] experiments I did of dancing naked outdoors during Covid,” he explains during a recent visit to his Mission District flat.\u003c/p>\n\u003cp>“First by myself, then with Nathaniel Moore, and one little project with Nathaniel and Brontez Purnell. Those pieces were, in a way, thinking through what it means to be outside because we can’t be inside. Being outside puts you into a relationship with nature and the urban environment, colliding realities that overlap. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“What’s touch? What’s the erotic body? There started to become almost an eco-sexual aspect to it, rolling in sand and being in the ocean, the sensuality of being outside, on the rocks of the Yuba River.”\u003c/p>\n\u003cp>Meanwhile, Hennessy says turning 60 spurred self-reflection and exploration, including an express re-acquaintance with his libido. Then Covid pushed him for the first time onto apps like SCRUFF and Grindr. \u003c/p>\n\u003cp>“It hadn’t been my thing,” he explains. “I meet people through my work, through my politics, through social life, and I’d been partnered for many years. All of a sudden I was single, horny, trying to pick up my sex life, and going online. I now entered this world of visual porn through the naked selfie that you share with other people.”\u003c/p>\n\u003cp>Perhaps unsurprisingly, worlds started to merge.\u003c/p>\n\u003ch2>Always Moving\u003c/h2>\n\u003cp>\u003cem>Back\u003c/em> represents the confluence of many rivers, the Yuba being the most literal. In the front room of his apartment, Hennessy lays out some of the costumes and properties for the show, explaining that most are intentionally recycled from past works. \u003c/p>\n\u003cp>There are, for instance, pieces from 2016’s \u003cem>Sara (the smuggler)\u003c/em> and 2015’s \u003cem>Bear/Skin\u003c/em>, and a costume of plastic shopping bags used just last year in his choreography for Latvian dancers at the Homo Novus festival in Riga.\u003c/p>\n\u003cp>There’s also an original piece by costumer and longtime collaborator Jack Davis that repurposes sections of the wedding dresses doused in pink house paint for \u003cem>The Pink Party\u003c/em> (2001-2002), ingeniously weaving the salvaged pieces together to form a toreador jacket. \u003c/p>\n\u003cp>\u003cem>Back\u003c/em> even includes repurposed music—a piece by Joel St. Julien that Hennessy danced to in Larry Arrington and Alexa Burrell’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13912270/odc-larry-arrington-alexa-burrell-wowmom-astrology-preview\" rel=\"noopener noreferrer\" target=\"_blank\">w o w m o m\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That work, which capped dancer-choreographer Arrington’s residency at ODC in April, featured the normally kinetic Hennessy seated in a chair against a giant video projection and rivetingly moving sideways through a glacial Butohesque arc.\u003c/p>\n\u003cp>Arrington—who was an ensemble member in Hennessy’s monumental and continually self-destructing \u003cem>Turbulence (a dance about the economy)\u003c/em>, which shook the rafters at YBCA in 2012—has seen \u003cem>Back\u003c/em> in rehearsal and registers a purity in it.\u003c/p>\n\u003cp>“I sometimes think dance can be really cynical,” she says, “especially if you think about nonprofits and funding and grants. It’s always about what ‘impact’ can dance make. Dance is always this method for something else. Keith is someone who believes that dance-ing is enough in a way. \u003c/p>\n\u003cp>“I think that’s part of what this piece is. In the midst of what feels like overwhelming crisis, he’s said, ‘Ok, so then I have to dance.’ A lot of people said, ‘I have to stop for a while,’ at least in the beginning of Covid. That’s not the case with him.”\u003c/p>\n\u003cp>At his core, Arrington sees Hennessy “as a dance person, a body person, a movement person. I think it’s extraordinarily difficult, especially under late-stage Covid-era capitalism,” she adds, “but Keith has never let alienation become a force that stops him from moving towards things.” \u003c/p>\n\u003ch2>A Short, Guided Dance Trip\u003c/h2>\n\u003cp>“In making a piece contemplative of the erotic body,” says Hennessy, there follows the question, “How do we think through the mental instability of the world? The increasing anxiety and depression that have one hundred percent intensified because of the neoliberal impact on the psyche as well as the psychological professions?” \u003c/p>\n\u003cp>Instead, Hennessy decided to make something without thinking. “I’ve ended up making this piece that’s gentler on my body, gentler on the mind. It’s not without its subtle provocations, but it’s a gentler work than I’ve made before.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The music, Hennessy says, is “very ambient and dreamscape-y. There’s a bit more space to feel. Things aren’t just coming at you quickly.” \u003c/p>\n\u003cp>Amid the mayhem of the moment, \u003cem>Back\u003c/em> is a short, guided dance trip, then, a measure of art medicine for a microdosing age. The gesture feels exactly right. The sense will be in the unfolding, for audience and artist alike.\u003c/p>\n\u003cp>“I didn’t make the piece to mean something,“ Hennessy makes clear. “I made the work, and now I’m learning what it means.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Back (all I wanna do is dance and fuck and swim with you)’ runs Sept. 14–24 at CounterPulse in San Francisco. \u003ca href=\"https://counterpulse.org/event/back/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At ODC, 'w o w m o m' Is a Multimedia Dance Ode to the Planets",
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"content": "\u003cp>For many, astrology is part jest and part moral compass. It’s how people either understand (or diagnose) themselves and their loved ones, but it’s also a belief framework for interpreting the past, present and an unknown future. And for \u003ca href=\"https://www.kqed.org/arts/13872290/how-larry-arrington-integrated-astrology-and-dance-to-confront-cosmic-tumult\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area dancer Larry Arrington\u003c/a>, astrology carries a serious ethos of artistic practice and research.\u003c/p>\n\u003cp>Humans have practiced astrology for centuries (long before \u003ca href=\"https://www.npr.org/2020/07/08/888641022/walter-mercado-remembered-with-mucho-mucho-amor\" rel=\"noopener noreferrer\" target=\"_blank\">Walter Mercado\u003c/a> was immortalized as a queer icon), though the practice seems to be reaching an apex of popularity in mainstream culture. Astrology memes have proliferated on Instagram, and \u003ca href=\"https://www.washingtonpost.com/religion/2021/12/10/tarot-cards-pandemic-trend/\" rel=\"noopener noreferrer\" target=\"_blank\">tarot card sales boomed in the pandemic\u003c/a>. In 2021, a special tarot deck was even released \u003ca href=\"https://www.kqed.org/arts/13896413/a-new-tarot-deck-celebrates-bay-area-queer-burlesque-and-alt-culture\" rel=\"noopener noreferrer\" target=\"_blank\">to celebrate Bay Area queer and burlesque culture\u003c/a>.\u003c/p>\n\u003cp>“To everything there is a season,” says Arrington.\u003c/p>\n\u003cp>Enter \u003cem>w o w m o m\u003c/em>, Arrington’s latest work that continues her multidisciplinary exploration of astrological archetypes and planetary cycles. “Dance and performance—and now film—are the instruments I use to practice astrology.” In collaboration with mixed-media artist Alexa Burrell, the performance collages film with live dance, using Burrell’s sampling of sonic and video media. It premieres at ODC in San Francisco in two performances, on April 29 and 30.\u003c/p>\n\u003cfigure id=\"attachment_13912276\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912276\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-800x450.jpg\" alt=\"A close up of an African-American man's face in purple light.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brontez Purnell in a still from ‘w o w m o m.’ \u003ccite>(Courtesy of Larry Arrington and Alexa Burrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>w o w m o m\u003c/em>, a portmanteau of two palindromes that also appears the same upside down, centers the concept of motherhood and reflection. Venus was the mother of Cupid (Eros), and her iconography is often reflected in water. Here, water symbolizes the reflection of faith and love back to oneself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burrell’s mixed media accentuates Joel St. Julien’s film score and Clement Hill Goldberg’s stop-animation work for the centerpiece film. It’s all punctuated by live performances by Maurya Kerr, Brontez Purnell, Chelsea Reichert, Grisel Torres, Keith Hennessy, Gizeh Muniz-Vengel and Amy Wasielewski.\u003c/p>\n\u003cp>[aside postID='arts_13872290']Combining a variety of art forms is exactly the point, explains Arrington: “Collaboration and hybridity are important for the astrological configuration we’re dancing under.” \u003c/p>\n\u003cp>The timing of the work’s development and its premiere also mirrors current astrological phenomena. Filming was done in the summer of 2021, so the artists could work with the first pass of Jupiter in Pisces, and the work will premiere next week when Venus is ruling the solar eclipse.\u003c/p>\n\u003cp>“It’s a wildly different configuration than the astrology we’ve been in for the last few years, that has amplified literal isolation and separation,” says Arrington. \u003cem>w o w m o m\u003c/em>’s staged premiere will soon align with a “wet mutable blend of astrology,” adds the artist, where isolation is ending and community is being called back together in a post-COVID world.\u003c/p>\n\u003cp>Even if your knowledge of astrology is limited, don’t worry. Arrington asks audiences for an open mind following the planetary chaos provided by the past couple years: “Expectation is disappointment’s mother. Everyone is so exhausted. We’ve all been through so much. We’re trying to work with that in mind and in heart.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘w o w m o m’ premieres April 29 and 30 at ODC Theater in San Francisco at 7:30pm. \u003ca href=\"https://odc.dance/wowmom\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For many, astrology is part jest and part moral compass. It’s how people either understand (or diagnose) themselves and their loved ones, but it’s also a belief framework for interpreting the past, present and an unknown future. And for \u003ca href=\"https://www.kqed.org/arts/13872290/how-larry-arrington-integrated-astrology-and-dance-to-confront-cosmic-tumult\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area dancer Larry Arrington\u003c/a>, astrology carries a serious ethos of artistic practice and research.\u003c/p>\n\u003cp>Humans have practiced astrology for centuries (long before \u003ca href=\"https://www.npr.org/2020/07/08/888641022/walter-mercado-remembered-with-mucho-mucho-amor\" rel=\"noopener noreferrer\" target=\"_blank\">Walter Mercado\u003c/a> was immortalized as a queer icon), though the practice seems to be reaching an apex of popularity in mainstream culture. Astrology memes have proliferated on Instagram, and \u003ca href=\"https://www.washingtonpost.com/religion/2021/12/10/tarot-cards-pandemic-trend/\" rel=\"noopener noreferrer\" target=\"_blank\">tarot card sales boomed in the pandemic\u003c/a>. In 2021, a special tarot deck was even released \u003ca href=\"https://www.kqed.org/arts/13896413/a-new-tarot-deck-celebrates-bay-area-queer-burlesque-and-alt-culture\" rel=\"noopener noreferrer\" target=\"_blank\">to celebrate Bay Area queer and burlesque culture\u003c/a>.\u003c/p>\n\u003cp>“To everything there is a season,” says Arrington.\u003c/p>\n\u003cp>Enter \u003cem>w o w m o m\u003c/em>, Arrington’s latest work that continues her multidisciplinary exploration of astrological archetypes and planetary cycles. “Dance and performance—and now film—are the instruments I use to practice astrology.” In collaboration with mixed-media artist Alexa Burrell, the performance collages film with live dance, using Burrell’s sampling of sonic and video media. It premieres at ODC in San Francisco in two performances, on April 29 and 30.\u003c/p>\n\u003cfigure id=\"attachment_13912276\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912276\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-800x450.jpg\" alt=\"A close up of an African-American man's face in purple light.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Brontez-Purnell.-Film-still-from-wow-mom.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brontez Purnell in a still from ‘w o w m o m.’ \u003ccite>(Courtesy of Larry Arrington and Alexa Burrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>w o w m o m\u003c/em>, a portmanteau of two palindromes that also appears the same upside down, centers the concept of motherhood and reflection. Venus was the mother of Cupid (Eros), and her iconography is often reflected in water. Here, water symbolizes the reflection of faith and love back to oneself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burrell’s mixed media accentuates Joel St. Julien’s film score and Clement Hill Goldberg’s stop-animation work for the centerpiece film. It’s all punctuated by live performances by Maurya Kerr, Brontez Purnell, Chelsea Reichert, Grisel Torres, Keith Hennessy, Gizeh Muniz-Vengel and Amy Wasielewski.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Combining a variety of art forms is exactly the point, explains Arrington: “Collaboration and hybridity are important for the astrological configuration we’re dancing under.” \u003c/p>\n\u003cp>The timing of the work’s development and its premiere also mirrors current astrological phenomena. Filming was done in the summer of 2021, so the artists could work with the first pass of Jupiter in Pisces, and the work will premiere next week when Venus is ruling the solar eclipse.\u003c/p>\n\u003cp>“It’s a wildly different configuration than the astrology we’ve been in for the last few years, that has amplified literal isolation and separation,” says Arrington. \u003cem>w o w m o m\u003c/em>’s staged premiere will soon align with a “wet mutable blend of astrology,” adds the artist, where isolation is ending and community is being called back together in a post-COVID world.\u003c/p>\n\u003cp>Even if your knowledge of astrology is limited, don’t worry. Arrington asks audiences for an open mind following the planetary chaos provided by the past couple years: “Expectation is disappointment’s mother. Everyone is so exhausted. We’ve all been through so much. We’re trying to work with that in mind and in heart.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘w o w m o m’ premieres April 29 and 30 at ODC Theater in San Francisco at 7:30pm. \u003ca href=\"https://odc.dance/wowmom\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mosswood Meltdown 2023 Lineup: Le Tigre, Bratmobile, ESG, J.J. Fad, Gravy Train!!!! and More",
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"content": "\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\u003cp>Oakland rock festival \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> has announced the full lineup for its 2023 event.\u003c/p>\n\u003cp>Set for 4th of July weekend, the festival will feature feminist electronic punk band Le Tigre, the first show in 20 years of groundbreaking riot grrrl group Bratmobile, “Supersonic” hitmakers J.J. Fad, proto-hip-hop New York group ESG, a reunion of the Oakland queercore group Gravy Train!!!!, Tina & the Total Babes, the Avengers, the Rondelles, Mika Miko, Quintron & Miss Pussycat and more.\u003c/p>\n\u003cp>Formerly known as Burger Boogaloo, \u003ca href=\"https://www.kqed.org/arts/13883674/burger-boogaloo-festival-cuts-ties-with-record-label-after-sex-abuse-allegations\">the festival underwent a rebranding\u003c/a> during the pandemic and emerged this past summer for the first time since 2019. In July, the festival bridged together generations of rock musicians, allowing newcomers like the Linda Lindas to share a stage with \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">longtime performers like Bikini Kill\u003c/a>.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13915779,arts_13883674\"]For its upcoming festival, Mosswood will see the renaissance of musical acts that made splashes in the early 2000s punk scene, including the angsty bubblegum power-pop group Tina & The Total Babes. And a certain generation of local punks will be \u003cem>very\u003c/em> excited about the return of Gravy Train!!!! Featuring Bay Area multi-hyphenate \u003ca href=\"https://www.kqed.org/arts/tag/brontez-purnell\">Brontez Purnell\u003c/a>, the band made a name in the aughts with funny, raunchy, overtly queer lyrics and wildly entertaining live shows.\u003c/p>\n\u003cp>In a sea of corporate music festivals, Mosswood remains a refuge for punk and rockabilly lovers who prefer a DIY spirit and in-your-face music and expression. Once again, the festival will be hosted by filmmaking icon John Waters at Mosswood Park. \u003c/p>\n\u003cp>\u003cstrong>Full lineup:\u003c/strong>\u003c/p>\n\u003cp>Le Tigre\u003cbr>\nBratmobile\u003cbr>\nGravy Train!!!!\u003cbr>\nMika Miko\u003cbr>\nESG\u003cbr>\nTina & The Total Babes\u003cbr>\nThe Rondelles\u003cbr>\nJ.J. Fad\u003cbr>\nQuintron & Ms. Pussycat\u003cbr>\nThe Avengers\u003cbr>\nSnooper\u003cbr>\nBrower\u003cbr>\nMorgan & the Organ Donors\u003cbr>\nMemo P.S.T\u003cbr>\nCumgirl8\u003cbr>\nWarp\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>\u003cem>Mosswood Meltdown takes place Saturday, July 1 to Sunday, July 2, 2023 at Mosswood Park in Oakland. \u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2023/521062?afflky=MosswoodMeltdown\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\u003cp>Oakland rock festival \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> has announced the full lineup for its 2023 event.\u003c/p>\n\u003cp>Set for 4th of July weekend, the festival will feature feminist electronic punk band Le Tigre, the first show in 20 years of groundbreaking riot grrrl group Bratmobile, “Supersonic” hitmakers J.J. Fad, proto-hip-hop New York group ESG, a reunion of the Oakland queercore group Gravy Train!!!!, Tina & the Total Babes, the Avengers, the Rondelles, Mika Miko, Quintron & Miss Pussycat and more.\u003c/p>\n\u003cp>Formerly known as Burger Boogaloo, \u003ca href=\"https://www.kqed.org/arts/13883674/burger-boogaloo-festival-cuts-ties-with-record-label-after-sex-abuse-allegations\">the festival underwent a rebranding\u003c/a> during the pandemic and emerged this past summer for the first time since 2019. In July, the festival bridged together generations of rock musicians, allowing newcomers like the Linda Lindas to share a stage with \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">longtime performers like Bikini Kill\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For its upcoming festival, Mosswood will see the renaissance of musical acts that made splashes in the early 2000s punk scene, including the angsty bubblegum power-pop group Tina & The Total Babes. And a certain generation of local punks will be \u003cem>very\u003c/em> excited about the return of Gravy Train!!!! Featuring Bay Area multi-hyphenate \u003ca href=\"https://www.kqed.org/arts/tag/brontez-purnell\">Brontez Purnell\u003c/a>, the band made a name in the aughts with funny, raunchy, overtly queer lyrics and wildly entertaining live shows.\u003c/p>\n\u003cp>In a sea of corporate music festivals, Mosswood remains a refuge for punk and rockabilly lovers who prefer a DIY spirit and in-your-face music and expression. Once again, the festival will be hosted by filmmaking icon John Waters at Mosswood Park. \u003c/p>\n\u003cp>\u003cstrong>Full lineup:\u003c/strong>\u003c/p>\n\u003cp>Le Tigre\u003cbr>\nBratmobile\u003cbr>\nGravy Train!!!!\u003cbr>\nMika Miko\u003cbr>\nESG\u003cbr>\nTina & The Total Babes\u003cbr>\nThe Rondelles\u003cbr>\nJ.J. Fad\u003cbr>\nQuintron & Ms. Pussycat\u003cbr>\nThe Avengers\u003cbr>\nSnooper\u003cbr>\nBrower\u003cbr>\nMorgan & the Organ Donors\u003cbr>\nMemo P.S.T\u003cbr>\nCumgirl8\u003cbr>\nWarp\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>\u003cem>Mosswood Meltdown takes place Saturday, July 1 to Sunday, July 2, 2023 at Mosswood Park in Oakland. \u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2023/521062?afflky=MosswoodMeltdown\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Nine Bay Area Books from 2021 to Celebrate our Survival",
"headTitle": "Nine Bay Area Books from 2021 to Celebrate our Survival | KQED",
"content": "\u003cp>It was the best of times, it was the worst of times. It was a year like no other, and yet, at times, it seemed quite humdrum. Pre-vaccine. Post-nothing. Often more distant than social.\u003c/p>\n\u003cp>But hey, at least we had books.\u003c/p>\n\u003cp>In 2021, Bay Area authors helped us to survive another year of pandemic with their imaginations, heart, and vitality. Although quite different in form and content, what the books on this list have in common is a personable, often joyous connection with the reader. To read any one of them is like inviting a good friend over for a drink and having one of those great, expansive conversations you never want to end.\u003c/p>\n\u003cp>Invite these books into your home, and reopen yourself to an as-yet-unwritten future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000.jpg\" alt=\"\" width=\"600\" height=\"902\" class=\"aligncenter size-full wp-image-13907111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000-160x241.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.fsgoriginals.com/books/100-boyfriends-1690eec1-f827-4e41-b862-63ac5d919886\">100 Boyfriends\u003c/a>,’ by Brontez Purnell\u003c/h2>\n\u003cp>These lusty, interconnected shorts elaborate on themes that have frequently punctuated Purnell’s work: his Southern upbringing, his punk rock resume of crap jobs and warehouse living, his exuberant sexual anarchy. \u003cem>100 Boyfriends\u003c/em> (FSG Originals, $15) is a voyeuristic joyride through a libidinous landscape of lovers, many of whom bear droll monikers such as “Boyfriend 007,” “Boyfriend 2.0” “Boyfriend 666 (the Satanist).” But beyond a litany of amorous misadventure told by multiple narrators, Purnell celebrates the chaotic margins of the Bay Area and beyond, while still leaving room for moments of tenderness, introspection, and even grief—providing a welcome antidote to a prevalent narrative that the Bay Area has lost its freaky edge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071.jpg\" alt=\"\" width=\"600\" height=\"890\" class=\"aligncenter size-full wp-image-13907105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071-160x237.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.blackfreighterpress.com/catalog/p/baby-axolotls-y-old-pochos\">Baby Axolotls y Old Pochos\u003c/a>,’ by Josiah Luis Alderete\u003c/h2>\n\u003cp>It’s been a pretty big year for Josiah Luis Alderete. First, the City Lights bookseller published \u003cem>Baby Axolotls y Old Pochos\u003c/em> (Black Freighter Press, $20). And then he went and bought a whole bookstore of his own in the Mission District of San Francisco (Medicine for Nightmares, with J.K. Fowler and Tân Khánh Cao). In his conversational, Spanglish-inflected poetry, Alderate brings to life a tight-knit community surviving with grace under unimaginable pressure. It’s a compassionate recuerdo of family, friends, and identity that straddles many borders—internal and external—and a vivid homage to an increasingly colonized Mission still inhabited by bilinguistas and Pochos, Tías and Tezcatlipoca.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Tongo.Blood_.lg_.jpg\" alt=\"\" width=\"600\" height=\"744\" class=\"aligncenter size-full wp-image-13907112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Tongo.Blood_.lg_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Tongo.Blood_.lg_-160x198.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://citylights.com/poetry/blood-on-the-fog/\">Blood on the Fog\u003c/a>,’ by Tongo Eisen-Martin\u003c/h2>\n\u003cp>To see San Francisco’s eighth poet laureate Tongo Eisen-Martin read is to get a crash course on how poetry can be a wholly embodied artform. Dynamic and assured, Eisen-Martin inhabits the living, breathing margins of his poems sometimes as a warrior, sometimes as a ghost; sometimes an explosion, sometimes as a wisp of smoke. In his third book, \u003cem>Blood in the Fog\u003c/em> (City Lights Books, $15.95), he reveals the layers of a revolutionary experience from the inside out, excavating family histories, fragments of song, Black power and Marxist theory, structural violence and the candor of the street with richly invoked language and intricate form. “I am lucky to be a metaphor for no one,” Eisen-Martin writes. The metaphor resides within.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200.jpg\" alt=\"\" width=\"600\" height=\"910\" class=\"aligncenter size-full wp-image-13907106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200-160x243.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://wwnorton.com/books/9780393652666\">Four Lost Cities\u003c/a>,’ by Annalee Newitz\u003c/h2>\n\u003cp>If you’ve read Annalee Newitz’ \u003cem>Scatter, Adapt, and Remember\u003c/em>, you’ve already encountered their theories about how humanity might survive the ongoing Holocene extinction event, including adapting our cities to address climate change and other perils. In \u003cem>Four Lost Cities\u003c/em> (W.W. Norton, $26.95), Newitz revisits the theme of adaptation by positioning the collapse of certain urban environments as a natural part of their evolution. Investigating the demise of four cities—from Çatalhöyük to Cahokia—Newitz looks into their unique cultural and environmental markers in order to determine what external and internal circumstances could lead to their “disappearance.” Captivating and thought-provoking.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500.jpg\" alt=\"\" width=\"600\" height=\"887\" class=\"aligncenter size-full wp-image-13907107\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500-160x237.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://groveatlantic.com/book/gordo/\">Gordo\u003c/a>,’ by Jaime Cortez\u003c/h2>\n\u003cp>One of the best readings I’ve ever attended was at a LitQuake, perhaps 10 years ago, where I saw Jaime Cortez read “The Jesus Donut”—the story that kicks off the collection of shorts. Ever since, I’ve eagerly awaited this joyous book of short stories centered on a 1970s migrant community in Watsonville. With a loving touch, Cortez imbues his tales with humor, dignity, and heart, frequently (though not exclusively) told through the eyes of a bullied child, called “Gordo” by most. \u003cem>Gordo\u003c/em> (Grove Atlantic, $16) is a wonderfully detailed portrait of a specific time and place that nonetheless feels completely of the moment, and makes for a deeply satisfying read.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350.jpg\" alt=\"\" width=\"600\" height=\"900\" class=\"aligncenter size-full wp-image-13907108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://us.macmillan.com/books/9780374602512/inflamed\">Inflamed: Deep Medicine and the Anatomy of Injustice\u003c/a>,’ Rupa Marya and Raj Patel\u003c/h2>\n\u003cp>Physician-musician-activist-author Rupa Marya is a true renaissance person, seemingly capable of taking full part in any discipline or area of expertise. In \u003cem>Inflamed: Deep Medicine and the Anatomy of Injustice\u003c/em> (Macmillan, $30 hardcover; $14.99 ebook), co-written with author Raj Patel, Marya ties the systems of the human body to the systems of the natural world in order to demonstrate how the dire effects of colonization, capitalism, and other human-made oppressive systems affect not only the physical form, but our interconnected well-being. It’s an urgent call from the field of medicine to address the very real racial, gender, and socio-economic inequities built as firmly into “health care” as any other institutional structure in a society where commerce comes before the commons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LastNomad.lg_.jpg\" alt=\"\" width=\"600\" height=\"909\" class=\"aligncenter size-full wp-image-13907113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LastNomad.lg_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LastNomad.lg_-160x242.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.workman.com/products/the-last-nomad/hardback\">The Last Nomad: Coming of Age in the Somali Desert\u003c/a>,’ by Shugri Said Salh\u003c/h2>\n\u003cp>In the first line of her stunning memoir, Shugri Said Salh admits that of course she’s not literally the last nomad. But rather, that she’s the last of her family line to have been nomadic—as even her siblings had remained living in cities and villages while Salh spent a good portion of her childhood herding goats across the Somali desert under the watchful eye of her beloved \u003cem>ayeeyo\u003c/em> (Grandmother). In \u003cem>The Last Nomad\u003c/em> (Workman Publishing, $26.95), Salh introduces us to the spare, harsh beauty of the desert and the deeply engrained rituals and traditions that kept her connected to her ancestral paths, until devastating war forced her and her family to flee the country. A clear-eyed, richly-remembered memoir that takes its readers on the journey of a lifetime—from Somalia to Sonoma County.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900.jpg\" alt=\"\" width=\"600\" height=\"928\" class=\"aligncenter size-full wp-image-13907109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900-160x247.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://us.macmillan.com/books/9781250800022/neversayyoucantsurvive\">Never Say You Can’t Survive\u003c/a>,’ Charlie Jane Anders\u003c/h2>\n\u003cp>If you, like myself, found yourself in need of gently reassuring pep talk a time or twenty over this past year, then this is the book for you. \u003cem>Never Say You Can’t Survive\u003c/em> (Macmillan $26.99 hardcover; ebook $13.99) is a friendly hug from your writing bestie who came to your coffee date prepared with a bunch of savvy advice and side of life coaching. The longtime chief cat wrangler of reading series Writers With Drinks, and an award-winning fantasy writer, Anders’ personable essays reflect on the life-changing potential good writing—and good writing practice—can have, for readers and writers both. If you’d rather just skip the processing and read her fiction instead, Anders published two other books this year as well: intergalactic YA adventure \u003cem>Victories Greater Than Death,\u003c/em> and short story collection \u003cem>Even Greater Mistakes\u003c/em>. A phenomenal triple-header!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Squad_1000x1500.jpg\" alt=\"\" width=\"600\" height=\"906\" class=\"aligncenter size-full wp-image-13907110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Squad_1000x1500.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Squad_1000x1500-160x242.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.harpercollins.com/products/squad-maggie-tokuda-hall?variant=33051647508514\">Squad\u003c/a>,’ by Maggie Tokuda-Hall, illustrated by Lisa Sterle\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If you read just one teenage werewolf feminist revenge fantasy this year, make it \u003cem>Squad\u003c/em> (HarperCollins, $14.99), by Maggie Tokuda-Hall—a (literally) ripping yarn about a clique of popular girls who turn into a pack of ravenous, anti-patriarchal wolves during the full moon who feast specifically upon predatory young men. \u003cem>Squad\u003c/em> may be marketed as a YA graphic novel, but it’s honestly for anyone looking for humor and bite; a \u003cem>Mean Girls\u003c/em> for monster maniacs. As Tokuda-Hall’s squad alternate between supporting each other and squabbling over their internal power dynamics, an accidental death too close to home threatens to reveal their murderous secrets. Lisa Sterle’s gorgeously saturated artwork fleshes out their world with vigor and verve.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the best of times, it was the worst of times. It was a year like no other, and yet, at times, it seemed quite humdrum. Pre-vaccine. Post-nothing. Often more distant than social.\u003c/p>\n\u003cp>But hey, at least we had books.\u003c/p>\n\u003cp>In 2021, Bay Area authors helped us to survive another year of pandemic with their imaginations, heart, and vitality. Although quite different in form and content, what the books on this list have in common is a personable, often joyous connection with the reader. To read any one of them is like inviting a good friend over for a drink and having one of those great, expansive conversations you never want to end.\u003c/p>\n\u003cp>Invite these books into your home, and reopen yourself to an as-yet-unwritten future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000.jpg\" alt=\"\" width=\"600\" height=\"902\" class=\"aligncenter size-full wp-image-13907111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000-160x241.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.fsgoriginals.com/books/100-boyfriends-1690eec1-f827-4e41-b862-63ac5d919886\">100 Boyfriends\u003c/a>,’ by Brontez Purnell\u003c/h2>\n\u003cp>These lusty, interconnected shorts elaborate on themes that have frequently punctuated Purnell’s work: his Southern upbringing, his punk rock resume of crap jobs and warehouse living, his exuberant sexual anarchy. \u003cem>100 Boyfriends\u003c/em> (FSG Originals, $15) is a voyeuristic joyride through a libidinous landscape of lovers, many of whom bear droll monikers such as “Boyfriend 007,” “Boyfriend 2.0” “Boyfriend 666 (the Satanist).” But beyond a litany of amorous misadventure told by multiple narrators, Purnell celebrates the chaotic margins of the Bay Area and beyond, while still leaving room for moments of tenderness, introspection, and even grief—providing a welcome antidote to a prevalent narrative that the Bay Area has lost its freaky edge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071.jpg\" alt=\"\" width=\"600\" height=\"890\" class=\"aligncenter size-full wp-image-13907105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071-160x237.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.blackfreighterpress.com/catalog/p/baby-axolotls-y-old-pochos\">Baby Axolotls y Old Pochos\u003c/a>,’ by Josiah Luis Alderete\u003c/h2>\n\u003cp>It’s been a pretty big year for Josiah Luis Alderete. First, the City Lights bookseller published \u003cem>Baby Axolotls y Old Pochos\u003c/em> (Black Freighter Press, $20). And then he went and bought a whole bookstore of his own in the Mission District of San Francisco (Medicine for Nightmares, with J.K. Fowler and Tân Khánh Cao). In his conversational, Spanglish-inflected poetry, Alderate brings to life a tight-knit community surviving with grace under unimaginable pressure. It’s a compassionate recuerdo of family, friends, and identity that straddles many borders—internal and external—and a vivid homage to an increasingly colonized Mission still inhabited by bilinguistas and Pochos, Tías and Tezcatlipoca.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Tongo.Blood_.lg_.jpg\" alt=\"\" width=\"600\" height=\"744\" class=\"aligncenter size-full wp-image-13907112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Tongo.Blood_.lg_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Tongo.Blood_.lg_-160x198.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://citylights.com/poetry/blood-on-the-fog/\">Blood on the Fog\u003c/a>,’ by Tongo Eisen-Martin\u003c/h2>\n\u003cp>To see San Francisco’s eighth poet laureate Tongo Eisen-Martin read is to get a crash course on how poetry can be a wholly embodied artform. Dynamic and assured, Eisen-Martin inhabits the living, breathing margins of his poems sometimes as a warrior, sometimes as a ghost; sometimes an explosion, sometimes as a wisp of smoke. In his third book, \u003cem>Blood in the Fog\u003c/em> (City Lights Books, $15.95), he reveals the layers of a revolutionary experience from the inside out, excavating family histories, fragments of song, Black power and Marxist theory, structural violence and the candor of the street with richly invoked language and intricate form. “I am lucky to be a metaphor for no one,” Eisen-Martin writes. The metaphor resides within.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200.jpg\" alt=\"\" width=\"600\" height=\"910\" class=\"aligncenter size-full wp-image-13907106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200-160x243.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://wwnorton.com/books/9780393652666\">Four Lost Cities\u003c/a>,’ by Annalee Newitz\u003c/h2>\n\u003cp>If you’ve read Annalee Newitz’ \u003cem>Scatter, Adapt, and Remember\u003c/em>, you’ve already encountered their theories about how humanity might survive the ongoing Holocene extinction event, including adapting our cities to address climate change and other perils. In \u003cem>Four Lost Cities\u003c/em> (W.W. Norton, $26.95), Newitz revisits the theme of adaptation by positioning the collapse of certain urban environments as a natural part of their evolution. Investigating the demise of four cities—from Çatalhöyük to Cahokia—Newitz looks into their unique cultural and environmental markers in order to determine what external and internal circumstances could lead to their “disappearance.” Captivating and thought-provoking.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500.jpg\" alt=\"\" width=\"600\" height=\"887\" class=\"aligncenter size-full wp-image-13907107\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500-160x237.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://groveatlantic.com/book/gordo/\">Gordo\u003c/a>,’ by Jaime Cortez\u003c/h2>\n\u003cp>One of the best readings I’ve ever attended was at a LitQuake, perhaps 10 years ago, where I saw Jaime Cortez read “The Jesus Donut”—the story that kicks off the collection of shorts. Ever since, I’ve eagerly awaited this joyous book of short stories centered on a 1970s migrant community in Watsonville. With a loving touch, Cortez imbues his tales with humor, dignity, and heart, frequently (though not exclusively) told through the eyes of a bullied child, called “Gordo” by most. \u003cem>Gordo\u003c/em> (Grove Atlantic, $16) is a wonderfully detailed portrait of a specific time and place that nonetheless feels completely of the moment, and makes for a deeply satisfying read.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350.jpg\" alt=\"\" width=\"600\" height=\"900\" class=\"aligncenter size-full wp-image-13907108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://us.macmillan.com/books/9780374602512/inflamed\">Inflamed: Deep Medicine and the Anatomy of Injustice\u003c/a>,’ Rupa Marya and Raj Patel\u003c/h2>\n\u003cp>Physician-musician-activist-author Rupa Marya is a true renaissance person, seemingly capable of taking full part in any discipline or area of expertise. In \u003cem>Inflamed: Deep Medicine and the Anatomy of Injustice\u003c/em> (Macmillan, $30 hardcover; $14.99 ebook), co-written with author Raj Patel, Marya ties the systems of the human body to the systems of the natural world in order to demonstrate how the dire effects of colonization, capitalism, and other human-made oppressive systems affect not only the physical form, but our interconnected well-being. It’s an urgent call from the field of medicine to address the very real racial, gender, and socio-economic inequities built as firmly into “health care” as any other institutional structure in a society where commerce comes before the commons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LastNomad.lg_.jpg\" alt=\"\" width=\"600\" height=\"909\" class=\"aligncenter size-full wp-image-13907113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LastNomad.lg_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LastNomad.lg_-160x242.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.workman.com/products/the-last-nomad/hardback\">The Last Nomad: Coming of Age in the Somali Desert\u003c/a>,’ by Shugri Said Salh\u003c/h2>\n\u003cp>In the first line of her stunning memoir, Shugri Said Salh admits that of course she’s not literally the last nomad. But rather, that she’s the last of her family line to have been nomadic—as even her siblings had remained living in cities and villages while Salh spent a good portion of her childhood herding goats across the Somali desert under the watchful eye of her beloved \u003cem>ayeeyo\u003c/em> (Grandmother). In \u003cem>The Last Nomad\u003c/em> (Workman Publishing, $26.95), Salh introduces us to the spare, harsh beauty of the desert and the deeply engrained rituals and traditions that kept her connected to her ancestral paths, until devastating war forced her and her family to flee the country. A clear-eyed, richly-remembered memoir that takes its readers on the journey of a lifetime—from Somalia to Sonoma County.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900.jpg\" alt=\"\" width=\"600\" height=\"928\" class=\"aligncenter size-full wp-image-13907109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900-160x247.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://us.macmillan.com/books/9781250800022/neversayyoucantsurvive\">Never Say You Can’t Survive\u003c/a>,’ Charlie Jane Anders\u003c/h2>\n\u003cp>If you, like myself, found yourself in need of gently reassuring pep talk a time or twenty over this past year, then this is the book for you. \u003cem>Never Say You Can’t Survive\u003c/em> (Macmillan $26.99 hardcover; ebook $13.99) is a friendly hug from your writing bestie who came to your coffee date prepared with a bunch of savvy advice and side of life coaching. The longtime chief cat wrangler of reading series Writers With Drinks, and an award-winning fantasy writer, Anders’ personable essays reflect on the life-changing potential good writing—and good writing practice—can have, for readers and writers both. If you’d rather just skip the processing and read her fiction instead, Anders published two other books this year as well: intergalactic YA adventure \u003cem>Victories Greater Than Death,\u003c/em> and short story collection \u003cem>Even Greater Mistakes\u003c/em>. A phenomenal triple-header!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Squad_1000x1500.jpg\" alt=\"\" width=\"600\" height=\"906\" class=\"aligncenter size-full wp-image-13907110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Squad_1000x1500.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Squad_1000x1500-160x242.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.harpercollins.com/products/squad-maggie-tokuda-hall?variant=33051647508514\">Squad\u003c/a>,’ by Maggie Tokuda-Hall, illustrated by Lisa Sterle\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you read just one teenage werewolf feminist revenge fantasy this year, make it \u003cem>Squad\u003c/em> (HarperCollins, $14.99), by Maggie Tokuda-Hall—a (literally) ripping yarn about a clique of popular girls who turn into a pack of ravenous, anti-patriarchal wolves during the full moon who feast specifically upon predatory young men. \u003cem>Squad\u003c/em> may be marketed as a YA graphic novel, but it’s honestly for anyone looking for humor and bite; a \u003cem>Mean Girls\u003c/em> for monster maniacs. As Tokuda-Hall’s squad alternate between supporting each other and squabbling over their internal power dynamics, an accidental death too close to home threatens to reveal their murderous secrets. Lisa Sterle’s gorgeously saturated artwork fleshes out their world with vigor and verve.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While the chance to safely attend physical dance parties remains on the horizon, this weekend San Francisco-based nonprofit and experimental art space The Lab will offer the next best thing: a 12-hour Dance A Thon fundraiser.\u003c/p>\n\u003cp>The event features DJs and artists Moor Mother, Brontez Purnell, William Basinski & Preston Wendel, Matmos, Dan Deacon, The Garbage Man (Grouper’s Liz Harris), Deerhoof’s Greg Saunier with Sarah Harris, emcees Peaches Christ, Fauxnique, Marvin K. White, and more. \u003c/p>\n\u003cp>“Funds raised during the Dance A Thon will help The Lab continue to provide direct financial relief to artists,” said Executive Director Dena Beard in a statement, “while offering all of us a chance for celebration and connectivity.” According to Beard, The Lab’s Dance A Thon was inspired by the Dance Marathons of the 1930s, which allowed emotional reprieve amidst the Great Depression.\u003c/p>\n\u003cp>With 50 minutes of dancing followed by a 10 minute break on the hour, the event will run from 7:30pm–7:30am with a mix of DJs, performers, and other artists. Dancers who would like to participate must first set up a pledge page and begin fundraising, much like a school walk-a-thon; they’ll receive a link to join the livestream after raising a minimum of $75. The event is free for the public to watch online. \u003c/p>\n\u003cp>In partnership with Bandcamp, The Lab will offer multiple prizes for dancers throughout the event. A $50 Bandcamp gift card will go to the Best Dancer, determined by the audience. A $150 Bandcamp gift card will go to the Highest Fundraiser, and a $150 Bandcamp gift card will go to the Last Dancer Left Standing. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Lab’s Dance A Thon starts at 7:30pm PST on April 10 and runs until 7:30am PST on Sunday, April 11. \u003ca href=\"https://www.thelab.org/projects/danceathon\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the chance to safely attend physical dance parties remains on the horizon, this weekend San Francisco-based nonprofit and experimental art space The Lab will offer the next best thing: a 12-hour Dance A Thon fundraiser.\u003c/p>\n\u003cp>The event features DJs and artists Moor Mother, Brontez Purnell, William Basinski & Preston Wendel, Matmos, Dan Deacon, The Garbage Man (Grouper’s Liz Harris), Deerhoof’s Greg Saunier with Sarah Harris, emcees Peaches Christ, Fauxnique, Marvin K. White, and more. \u003c/p>\n\u003cp>“Funds raised during the Dance A Thon will help The Lab continue to provide direct financial relief to artists,” said Executive Director Dena Beard in a statement, “while offering all of us a chance for celebration and connectivity.” According to Beard, The Lab’s Dance A Thon was inspired by the Dance Marathons of the 1930s, which allowed emotional reprieve amidst the Great Depression.\u003c/p>\n\u003cp>With 50 minutes of dancing followed by a 10 minute break on the hour, the event will run from 7:30pm–7:30am with a mix of DJs, performers, and other artists. Dancers who would like to participate must first set up a pledge page and begin fundraising, much like a school walk-a-thon; they’ll receive a link to join the livestream after raising a minimum of $75. The event is free for the public to watch online. \u003c/p>\n\u003cp>In partnership with Bandcamp, The Lab will offer multiple prizes for dancers throughout the event. A $50 Bandcamp gift card will go to the Best Dancer, determined by the audience. A $150 Bandcamp gift card will go to the Highest Fundraiser, and a $150 Bandcamp gift card will go to the Last Dancer Left Standing. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Lab’s Dance A Thon starts at 7:30pm PST on April 10 and runs until 7:30am PST on Sunday, April 11. \u003ca href=\"https://www.thelab.org/projects/danceathon\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One evening earlier this month, a Twister mat lay on the floor of the Joe Goode Annex theater in San Francisco, and a black-and-white video of someone’s trembling anus projected on the back wall.\u003c/p>\n\u003cp>Felix Sol Linck-Frenz of Lxs Dxs, the experimental dance collective, sat cross-legged on the floor, chopping vegetables in front of a pressure cooker, while \u003ca href=\"https://www.kqed.org/arts/13860957/the-hustle-stephanie-hewett-dance\" target=\"_blank\" rel=\"noopener noreferrer\">Stephanie Hewett\u003c/a> mixed glassy techno. They joined with Jubilee July in everyday gestures—hopping, walking, swinging—while coolly discussing how the body holds tension, and the demands of movement technique. The tone was relaxed even as they turned to stare directly at the crowd and debate asking for a volunteer to spin the Twister arrow, generating new choreography.\u003c/p>\n\u003cp>When one of them wondered aloud if that’s “too much pressure,” it wasn’t clear if they were speaking about the audience, themselves or the vegetables. And by this point the bodily imagery, still projected on the back wall, became a symbol of vulnerable reciprocity in a performance setting. At the ding of the crockpot, they lifted the lid and the smell of stew filled the room.\u003c/p>\n\u003cp>\u003cem>Iz 2 Tite\u003c/em>, Lxs Dxs’ clever meditation on force and consent (between collaborators as much as between dancers and crowd), began the first weekend of performances at the 11th annual \u003ca href=\"https://freshfestival.org/\">Fresh Festival\u003c/a>, which also organized a vast array of workshops and instruction for the dance community. The festival, produced by Kathleen Hermesdorf and her musical collaborator Albert Mathias’ dance company La Alternativa, with José Navarrete returning as co-curator, is an outlet for local and international artists exploring the rocky terrain between dance and multimedia performance art.\u003c/p>\n\u003cp>Now in its second decade, Fresh Festival’s performance programming remains a bastion of experimentation. In an about-face from the 2019 theme of “reckoning,” this year performers worked from the prompt “tender”—though that didn’t preclude madcap improvisation and outlandish theatrics. Lxs Dxs’ stew would not be the only food artists offered the audience.\u003c/p>\n\u003cfigure id=\"attachment_13873973\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/LUXBOREALPERFORMANCES.jpg\" alt=\"Lux Boreal, a six-dancer ensemble from Tijuana, Mexico, headlined the second weekend of performances at the 11th annual Fresh Festival.\" width=\"500\" height=\"333\" class=\"size-full wp-image-13873973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/LUXBOREALPERFORMANCES.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/LUXBOREALPERFORMANCES-160x107.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Lux Boreal, a six-dancer ensemble from Tijuana, Mexico, headlined the second weekend of performances at the 11th annual Fresh Festival. \u003ccite>(Courtesy Fresh Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Raine/Vortex\u003c/em>, by Fresh fixture Sara Shelton Mann and New York artist Jesse Zaritt, was a riveting bout of emotional whiplash. Zaritt moved nonstop, strafing the stage like someone who’s intimidating to pass on the sidewalk. Mann, who’s known for contact improvisation, danced hardly at all, opting for a microphone. I only caught snippets of one monologue (“Do you remember? … We were roasting a pig”) above a booming torch song. In another, Mann recalled her decades-long relationship with the neighborhood’s shifting arts spaces in a vertiginous rush.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And what was the relationship between Mann and Zaritt? One moment suggested tormentor and tormented: Zaritt, wearing an excruciatingly forced smile, splayed himself along a wall while Mann cackled creepily from a stool. But her tone would shift. “Jesse, what are you doing?” she asked, sounding confused and maternal. Zaritt scribbled on a piece of butcher paper; they dragged ropes around. After leading a chant that started, “At the moment the house is upside down,” Zaritt pranced out the door to a polka-like beat.\u003c/p>\n\u003cp>Lux Boreal, a six-dancer ensemble from Tijuana, Mexico, followed Mann and Zaritt on the second weekend of performances with \u003cem>La Ciudad Que Arde (The Burning Town)\u003c/em>, choreographed by Henry Torres Blanco. It was the festival’s most elaborate feature, with multiple costume changes and projections. It also had the most narrative contour, outlined in Spanish and English asides, seeming to comment on the technological gaze and apocalypse fetishism.\u003c/p>\n\u003cp>Leading much of the highly lyrical ensemble dancing was a performer who at first sat behind at a computer while lines of code appeared on the wall. Dancers emerged furtively from corners, crawled on their knees and collapsed, suggesting druggy submission, followed by passages of cross-hatching leaps and limp-armed languor. The motif of objectification surfaced as the coder-dancer hovered with a webcam over a soloing woman dancer.\u003c/p>\n\u003cfigure id=\"attachment_13873972\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873972\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/BRONTE%CC%88VELEZMAINSTAGE.jpg\" alt=\"brontë velez performed at the 11th annual Fresh Festival.\" width=\"500\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/BRONTËVELEZMAINSTAGE.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/BRONTËVELEZMAINSTAGE-160x107.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">brontë velez performed at the 11th annual Fresh Festival. \u003ccite>(Alan Kimara Dixon/Courtesy Fresh Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I already wanted webcam man deposed when he tried to do something cruel with boiling water and ice cubes, and the piece’s climax obliged: He was forcibly disrobed, and the group reformed as equals in jumpsuits. But maybe the mutiny that felt like victory came too late? Lava and glacier imagery lit up the wall, and a nuclear mushroom erupted as a dancer flung a fistful of dust in the air.\u003c/p>\n\u003cp>Other artists located “tenderness” in allusions to healing and resilience: \u003cem>Enter: Light\u003c/em>, a series of solos and duets by dana e. fitchett, derives its name from a \u003ca href=\"https://www.goodreads.com/quotes/103315-the-wound-is-the-place-where-the-light-enters-you\" target=\"_blank\" rel=\"noopener noreferrer\">Rumi line\u003c/a> about recovering from trauma, while a projected quote noted African Americans’ long-denied “right to move.” brontë velez’s \u003cem>meanwhile, the mud still mothers\u003c/em> drew its choreography from the black feminist scholar Alexis Pauline Gumbs’ description of “mud mothers” in her book \u003ca href=\"https://www.dukeupress.edu/m-archive\">\u003cem>M Archive\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>Navarrete, the festival’s co-curator, has close ties to artists incorporating activism into their practice; he works at Oakland social-justice hub East Side Arts Alliance. Fittingly, some of the performance programming broached topics that were then addressed more directly in events billed as “deep community engagement,” a range of participatory workshops led by local artist-activists such as poets Regina Evans and Tongo Eisen-Martin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Owing to the dozens of artists involved in this “exchange” programming as well as the daily movement instruction, the three weeks of events at the 75-seat Joe Goode Annex had a familiar, easygoing atmosphere that perhaps realized tenderness more than any one piece. To wit, Brontez Purnell’s \u003cem>Tender Dub Remix\u003c/em>, headlining the last weekend, began with audio of his mother sounding ambivalent about his birth. At the end, he served birthday cake to everyone present.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One evening earlier this month, a Twister mat lay on the floor of the Joe Goode Annex theater in San Francisco, and a black-and-white video of someone’s trembling anus projected on the back wall.\u003c/p>\n\u003cp>Felix Sol Linck-Frenz of Lxs Dxs, the experimental dance collective, sat cross-legged on the floor, chopping vegetables in front of a pressure cooker, while \u003ca href=\"https://www.kqed.org/arts/13860957/the-hustle-stephanie-hewett-dance\" target=\"_blank\" rel=\"noopener noreferrer\">Stephanie Hewett\u003c/a> mixed glassy techno. They joined with Jubilee July in everyday gestures—hopping, walking, swinging—while coolly discussing how the body holds tension, and the demands of movement technique. The tone was relaxed even as they turned to stare directly at the crowd and debate asking for a volunteer to spin the Twister arrow, generating new choreography.\u003c/p>\n\u003cp>When one of them wondered aloud if that’s “too much pressure,” it wasn’t clear if they were speaking about the audience, themselves or the vegetables. And by this point the bodily imagery, still projected on the back wall, became a symbol of vulnerable reciprocity in a performance setting. At the ding of the crockpot, they lifted the lid and the smell of stew filled the room.\u003c/p>\n\u003cp>\u003cem>Iz 2 Tite\u003c/em>, Lxs Dxs’ clever meditation on force and consent (between collaborators as much as between dancers and crowd), began the first weekend of performances at the 11th annual \u003ca href=\"https://freshfestival.org/\">Fresh Festival\u003c/a>, which also organized a vast array of workshops and instruction for the dance community. The festival, produced by Kathleen Hermesdorf and her musical collaborator Albert Mathias’ dance company La Alternativa, with José Navarrete returning as co-curator, is an outlet for local and international artists exploring the rocky terrain between dance and multimedia performance art.\u003c/p>\n\u003cp>Now in its second decade, Fresh Festival’s performance programming remains a bastion of experimentation. In an about-face from the 2019 theme of “reckoning,” this year performers worked from the prompt “tender”—though that didn’t preclude madcap improvisation and outlandish theatrics. Lxs Dxs’ stew would not be the only food artists offered the audience.\u003c/p>\n\u003cfigure id=\"attachment_13873973\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/LUXBOREALPERFORMANCES.jpg\" alt=\"Lux Boreal, a six-dancer ensemble from Tijuana, Mexico, headlined the second weekend of performances at the 11th annual Fresh Festival.\" width=\"500\" height=\"333\" class=\"size-full wp-image-13873973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/LUXBOREALPERFORMANCES.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/LUXBOREALPERFORMANCES-160x107.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Lux Boreal, a six-dancer ensemble from Tijuana, Mexico, headlined the second weekend of performances at the 11th annual Fresh Festival. \u003ccite>(Courtesy Fresh Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Raine/Vortex\u003c/em>, by Fresh fixture Sara Shelton Mann and New York artist Jesse Zaritt, was a riveting bout of emotional whiplash. Zaritt moved nonstop, strafing the stage like someone who’s intimidating to pass on the sidewalk. Mann, who’s known for contact improvisation, danced hardly at all, opting for a microphone. I only caught snippets of one monologue (“Do you remember? … We were roasting a pig”) above a booming torch song. In another, Mann recalled her decades-long relationship with the neighborhood’s shifting arts spaces in a vertiginous rush.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And what was the relationship between Mann and Zaritt? One moment suggested tormentor and tormented: Zaritt, wearing an excruciatingly forced smile, splayed himself along a wall while Mann cackled creepily from a stool. But her tone would shift. “Jesse, what are you doing?” she asked, sounding confused and maternal. Zaritt scribbled on a piece of butcher paper; they dragged ropes around. After leading a chant that started, “At the moment the house is upside down,” Zaritt pranced out the door to a polka-like beat.\u003c/p>\n\u003cp>Lux Boreal, a six-dancer ensemble from Tijuana, Mexico, followed Mann and Zaritt on the second weekend of performances with \u003cem>La Ciudad Que Arde (The Burning Town)\u003c/em>, choreographed by Henry Torres Blanco. It was the festival’s most elaborate feature, with multiple costume changes and projections. It also had the most narrative contour, outlined in Spanish and English asides, seeming to comment on the technological gaze and apocalypse fetishism.\u003c/p>\n\u003cp>Leading much of the highly lyrical ensemble dancing was a performer who at first sat behind at a computer while lines of code appeared on the wall. Dancers emerged furtively from corners, crawled on their knees and collapsed, suggesting druggy submission, followed by passages of cross-hatching leaps and limp-armed languor. The motif of objectification surfaced as the coder-dancer hovered with a webcam over a soloing woman dancer.\u003c/p>\n\u003cfigure id=\"attachment_13873972\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873972\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/BRONTE%CC%88VELEZMAINSTAGE.jpg\" alt=\"brontë velez performed at the 11th annual Fresh Festival.\" width=\"500\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/BRONTËVELEZMAINSTAGE.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/BRONTËVELEZMAINSTAGE-160x107.jpg 160w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">brontë velez performed at the 11th annual Fresh Festival. \u003ccite>(Alan Kimara Dixon/Courtesy Fresh Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I already wanted webcam man deposed when he tried to do something cruel with boiling water and ice cubes, and the piece’s climax obliged: He was forcibly disrobed, and the group reformed as equals in jumpsuits. But maybe the mutiny that felt like victory came too late? Lava and glacier imagery lit up the wall, and a nuclear mushroom erupted as a dancer flung a fistful of dust in the air.\u003c/p>\n\u003cp>Other artists located “tenderness” in allusions to healing and resilience: \u003cem>Enter: Light\u003c/em>, a series of solos and duets by dana e. fitchett, derives its name from a \u003ca href=\"https://www.goodreads.com/quotes/103315-the-wound-is-the-place-where-the-light-enters-you\" target=\"_blank\" rel=\"noopener noreferrer\">Rumi line\u003c/a> about recovering from trauma, while a projected quote noted African Americans’ long-denied “right to move.” brontë velez’s \u003cem>meanwhile, the mud still mothers\u003c/em> drew its choreography from the black feminist scholar Alexis Pauline Gumbs’ description of “mud mothers” in her book \u003ca href=\"https://www.dukeupress.edu/m-archive\">\u003cem>M Archive\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>Navarrete, the festival’s co-curator, has close ties to artists incorporating activism into their practice; he works at Oakland social-justice hub East Side Arts Alliance. Fittingly, some of the performance programming broached topics that were then addressed more directly in events billed as “deep community engagement,” a range of participatory workshops led by local artist-activists such as poets Regina Evans and Tongo Eisen-Martin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Owing to the dozens of artists involved in this “exchange” programming as well as the daily movement instruction, the three weeks of events at the 75-seat Joe Goode Annex had a familiar, easygoing atmosphere that perhaps realized tenderness more than any one piece. To wit, Brontez Purnell’s \u003cem>Tender Dub Remix\u003c/em>, headlining the last weekend, began with audio of his mother sounding ambivalent about his birth. At the end, he served birthday cake to everyone present.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>akland used to be the sort of city where two young, queer boys from Arizona and Alabama—incidentally also pen pals—could pack up and move. Once there, they’d make music, art and friends. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>Artists Seth Bogart, raised in Arizona, and Brontez Purnell, Alabamian by birth, met on the message board of record label Kill Rock Stars and struck up a correspondence, mailing each other letters from their respective conservative home states. In the late 90s, Bogart moved to Oakland and in 2002, Purnell followed suit, soon joining Bogart’s electro-punk band \u003ca href=\"https://en.wikipedia.org/wiki/Gravy_Train!!!!\" rel=\"noopener\" target=\"_blank\">Gravy Train!!!!\u003c/a> About a decade later, Purnell met Jeff Cheung, who grew up in the East Bay, when Cheung performed with his own band Meat Market at the West Oakland warehouse where Purnell lived. (Purnell and Brontez were well known to Cheung; when the younger artist was in high school, he saw Gravy Train!!!! perform at San Francisco’s Bottom of the Hill.)\u003c/p>\n\u003cfigure id=\"attachment_13868820\" class=\"wp-caption alignright\" style=\"max-width: 748px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press.jpg\" alt=\"Brontez Purnell-made poster for 'Pansy Twist.'\" width=\"748\" height=\"960\" class=\"size-full wp-image-13868820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press.jpg 748w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press-160x205.jpg 160w\" sizes=\"(max-width: 748px) 100vw, 748px\">\u003cfigcaption class=\"wp-caption-text\">Brontez Purnell-made poster for ‘Pansy Twist.’ \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This Friday all three multidisciplinary artists will show print, film and sculpture works at Oakland’s Johansson Projects under the banner \u003cem>\u003ca href=\"https://www.johanssonprojects.com/portfolio/bogart-cheung-purnell/\" rel=\"noopener\" target=\"_blank\">Pansy Twist: An Incomplete Survey/Mixtape of Contemporary Riot Boi Art\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>“I don’t know too many places that have this many [queer] rockers who also share in community and whose voices are distinctly in conversation with each other,” Purnell says of the city that brought the three of them together. \u003c/p>\n\u003cp>“It was kind of a different place back then,” Bogart tells me over the phone from Los Angeles, his home base since 2011. “It was a lot more affordable and you could have a $300 rent if you lived with people.” \u003c/p>\n\u003cp>Today, it’s hard to say if Oakland is the sort of place that offers the same possibilities of community and convergence it did even just five years ago. What connections have forged in the waves of new residents recently arrived to town? How much has been lost along with those who were priced out of their homes? When did this attrition start? Such questions loom large for those invested in Oakland’s cultural identity—but on Friday night, the focus will be on the lovingly entangled webs Bogart, Purnell and Cheung have spun. \u003c/p>\n\u003cp>Since their respective arrivals to Oakland, Bogart and Purnell have forged careers in music and art, making waves far beyond the Bay Area. Alongside his ongoing musical project, \u003ca href=\"https://www.facebook.com/hunxandhispunx/\" rel=\"noopener\" target=\"_blank\">Hunx and His Punx\u003c/a>, Bogart’s artwork and multimedia performances have been featured in solo and group shows at galleries and museums in New York, Chicago and Detroit. Through his label \u003ca href=\"https://wackywacko.com/\" rel=\"noopener\" target=\"_blank\">Wacky Wacko\u003c/a>, Bogart also releases bright, mischievous ceramics and clothes; he collaborated with Cheung in 2018 on a button-up shirt patterned with Cheung’s signature nudes. \u003c/p>\n\u003cfigure id=\"attachment_13868826\" class=\"wp-caption aligncenter\" style=\"max-width: 3718px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/bogart.jpeg\" alt=\"Ceramics by Seth Bogart, 2019.\" width=\"3718\" height=\"2569\" class=\"size-full wp-image-13868826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart.jpeg 3718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-800x553.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-768x531.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1020x705.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1200x829.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1920x1327.jpeg 1920w\" sizes=\"(max-width: 3718px) 100vw, 3718px\">\u003cfigcaption class=\"wp-caption-text\">Ceramics by Seth Bogart, 2019. \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hopping from one medium to the next came naturally to Bogart. “I started making clothes based on making merchandise for my band as a way to make extra money so I could quit my job,” he says. “I’m very thankful that I can move from one thing to another because sometimes, one of those things will really suck.” \u003c/p>\n\u003cp>Like Bogart, Purnell’s artistic expression crosses from one format to another. In 2017, he published his debut novel, \u003cem>\u003ca href=\"https://www.feministpress.org/books-n-z/since-i-laid-my-burden-down\" rel=\"noopener\" target=\"_blank\">Since I Laid My Burden Down\u003c/a>\u003c/em>, which went on to win the Whiting Prize for notable emerging writers. That same year his \u003ca href=\"http://www.brontezpurnelldancecompany.com/\" rel=\"noopener\" target=\"_blank\">eponymous dance company\u003c/a> debuted \u003cem>Chronic: A Dance about Marijuana\u003c/em> at a festival held by Bill T. Jones’s New York Live Arts. The show later played in Hamburg and made its Oakland debut earlier this month at \u003cem>Eternal Now\u003c/em>, a psychedelic variety show that, full disclaimer, this writer helped produce. (Shortly after that performance, Purnell declared “Oakland is back!” Though there’s an argument to whether the city is truly “back,” I won’t dispute the relative dormancy of its arts scene.)\u003c/p>\n\u003cp>These days, heightened safety measures and scarcity of space have shepherded in a new era in the Oakland underground scene. Meeting a kindred spirit at a warehouse venue is far less likely. Some gatherings have moved to formal spaces with security guards, lines and permits, while others are held outdoors, preserving the impermanence and fugitivity of the underground.\u003c/p>\n\u003cfigure id=\"attachment_13868827\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Cheung_1200.jpg\" alt=\"Jeffrey Cheung, 'Complete,' 2019.\" width=\"1200\" height=\"1490\" class=\"size-full wp-image-13868827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-1020x1267.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-966x1200.jpg 966w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Cheung, ‘Complete,’ 2019. \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Rockridge BART parking lot, for example, you might now find Cheung and Gabriel Ramirez’s Unity Skate meetups which, along with \u003ca href=\"https://www.unityzines.com/\" rel=\"noopener\" target=\"_blank\">Unity Press\u003c/a>, center accessible learning and joy for queer and trans folks. Cheung credits a free printmaking class led by Katie Gilmartin at San Francisco’s SOMArts as an inspiration for the work he does now with Unity. \u003c/p>\n\u003cp>“There were a lot of different creative scenes and spaces that I think were really inspiring to me, and felt like I could really express myself how I wanted,” he says of growing up in Oakland and taking classes in San Francisco. “Being around other young queer folks and having the resources to learn printmaking for free was amazing. I feel like these types of resources and spaces are harder to find in the Bay and are even more important to have.”\u003c/p>\n\u003cp>In his solo work as an artist, Cheung paints canvases of nude figures, tender and impish and always finished with a wink. His paintings have been included in shows both nationally and internationally. For Cheung, even these moments of individual recognition are opportunities to build community: His exhibitions never seem to pass without a Unity Skate meetup and skateboard giveaway. \u003c/p>\n\u003cp>https://www.instagram.com/p/B35RmI7JMul/\u003c/p>\n\u003cp>\u003cem>Pansy Twist\u003c/em> is a name borrowed from the \u003ca href=\"https://www.youtube.com/watch?v=I_kGP-AlEuk\" rel=\"noopener\" target=\"_blank\">title of a song\u003c/a> by London riot grrrl band Huggy Bear. “I think it’s a call to queer action and a call to crime,” Purnell says of the song. “I used to listen to it when I was a teenager and I thought it was the coolest song ever.” At Johansson Projects, the exhibition version of \u003cem>Pansy Twist\u003c/em> offers its own compelling call to action in its offer of D.I.T., or “do it together” (compared to D.I.Y.’s plea to “do it yourself”)—a celebration of the possibilities of community. \u003c/p>\n\u003cp>As Purnell puts it: “We hope somebody sees it and has a \u003cem>Pansy Twist\u003c/em> in their town.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Pansy Twists’ is on view at Johansson Projects Oct. 25, 2019–Jan. 4, 2020 with a reception on Saturday, Nov. 1. \u003ca href=\"https://www.johanssonprojects.com/portfolio/bogart-cheung-purnell/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\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>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>akland used to be the sort of city where two young, queer boys from Arizona and Alabama—incidentally also pen pals—could pack up and move. Once there, they’d make music, art and friends. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>Artists Seth Bogart, raised in Arizona, and Brontez Purnell, Alabamian by birth, met on the message board of record label Kill Rock Stars and struck up a correspondence, mailing each other letters from their respective conservative home states. In the late 90s, Bogart moved to Oakland and in 2002, Purnell followed suit, soon joining Bogart’s electro-punk band \u003ca href=\"https://en.wikipedia.org/wiki/Gravy_Train!!!!\" rel=\"noopener\" target=\"_blank\">Gravy Train!!!!\u003c/a> About a decade later, Purnell met Jeff Cheung, who grew up in the East Bay, when Cheung performed with his own band Meat Market at the West Oakland warehouse where Purnell lived. (Purnell and Brontez were well known to Cheung; when the younger artist was in high school, he saw Gravy Train!!!! perform at San Francisco’s Bottom of the Hill.)\u003c/p>\n\u003cfigure id=\"attachment_13868820\" class=\"wp-caption alignright\" style=\"max-width: 748px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press.jpg\" alt=\"Brontez Purnell-made poster for 'Pansy Twist.'\" width=\"748\" height=\"960\" class=\"size-full wp-image-13868820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press.jpg 748w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press-160x205.jpg 160w\" sizes=\"(max-width: 748px) 100vw, 748px\">\u003cfigcaption class=\"wp-caption-text\">Brontez Purnell-made poster for ‘Pansy Twist.’ \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This Friday all three multidisciplinary artists will show print, film and sculpture works at Oakland’s Johansson Projects under the banner \u003cem>\u003ca href=\"https://www.johanssonprojects.com/portfolio/bogart-cheung-purnell/\" rel=\"noopener\" target=\"_blank\">Pansy Twist: An Incomplete Survey/Mixtape of Contemporary Riot Boi Art\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>“I don’t know too many places that have this many [queer] rockers who also share in community and whose voices are distinctly in conversation with each other,” Purnell says of the city that brought the three of them together. \u003c/p>\n\u003cp>“It was kind of a different place back then,” Bogart tells me over the phone from Los Angeles, his home base since 2011. “It was a lot more affordable and you could have a $300 rent if you lived with people.” \u003c/p>\n\u003cp>Today, it’s hard to say if Oakland is the sort of place that offers the same possibilities of community and convergence it did even just five years ago. What connections have forged in the waves of new residents recently arrived to town? How much has been lost along with those who were priced out of their homes? When did this attrition start? Such questions loom large for those invested in Oakland’s cultural identity—but on Friday night, the focus will be on the lovingly entangled webs Bogart, Purnell and Cheung have spun. \u003c/p>\n\u003cp>Since their respective arrivals to Oakland, Bogart and Purnell have forged careers in music and art, making waves far beyond the Bay Area. Alongside his ongoing musical project, \u003ca href=\"https://www.facebook.com/hunxandhispunx/\" rel=\"noopener\" target=\"_blank\">Hunx and His Punx\u003c/a>, Bogart’s artwork and multimedia performances have been featured in solo and group shows at galleries and museums in New York, Chicago and Detroit. Through his label \u003ca href=\"https://wackywacko.com/\" rel=\"noopener\" target=\"_blank\">Wacky Wacko\u003c/a>, Bogart also releases bright, mischievous ceramics and clothes; he collaborated with Cheung in 2018 on a button-up shirt patterned with Cheung’s signature nudes. \u003c/p>\n\u003cfigure id=\"attachment_13868826\" class=\"wp-caption aligncenter\" style=\"max-width: 3718px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/bogart.jpeg\" alt=\"Ceramics by Seth Bogart, 2019.\" width=\"3718\" height=\"2569\" class=\"size-full wp-image-13868826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart.jpeg 3718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-800x553.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-768x531.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1020x705.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1200x829.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1920x1327.jpeg 1920w\" sizes=\"(max-width: 3718px) 100vw, 3718px\">\u003cfigcaption class=\"wp-caption-text\">Ceramics by Seth Bogart, 2019. \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hopping from one medium to the next came naturally to Bogart. “I started making clothes based on making merchandise for my band as a way to make extra money so I could quit my job,” he says. “I’m very thankful that I can move from one thing to another because sometimes, one of those things will really suck.” \u003c/p>\n\u003cp>Like Bogart, Purnell’s artistic expression crosses from one format to another. In 2017, he published his debut novel, \u003cem>\u003ca href=\"https://www.feministpress.org/books-n-z/since-i-laid-my-burden-down\" rel=\"noopener\" target=\"_blank\">Since I Laid My Burden Down\u003c/a>\u003c/em>, which went on to win the Whiting Prize for notable emerging writers. That same year his \u003ca href=\"http://www.brontezpurnelldancecompany.com/\" rel=\"noopener\" target=\"_blank\">eponymous dance company\u003c/a> debuted \u003cem>Chronic: A Dance about Marijuana\u003c/em> at a festival held by Bill T. Jones’s New York Live Arts. The show later played in Hamburg and made its Oakland debut earlier this month at \u003cem>Eternal Now\u003c/em>, a psychedelic variety show that, full disclaimer, this writer helped produce. (Shortly after that performance, Purnell declared “Oakland is back!” Though there’s an argument to whether the city is truly “back,” I won’t dispute the relative dormancy of its arts scene.)\u003c/p>\n\u003cp>These days, heightened safety measures and scarcity of space have shepherded in a new era in the Oakland underground scene. Meeting a kindred spirit at a warehouse venue is far less likely. Some gatherings have moved to formal spaces with security guards, lines and permits, while others are held outdoors, preserving the impermanence and fugitivity of the underground.\u003c/p>\n\u003cfigure id=\"attachment_13868827\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Cheung_1200.jpg\" alt=\"Jeffrey Cheung, 'Complete,' 2019.\" width=\"1200\" height=\"1490\" class=\"size-full wp-image-13868827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-1020x1267.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-966x1200.jpg 966w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Cheung, ‘Complete,’ 2019. \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Rockridge BART parking lot, for example, you might now find Cheung and Gabriel Ramirez’s Unity Skate meetups which, along with \u003ca href=\"https://www.unityzines.com/\" rel=\"noopener\" target=\"_blank\">Unity Press\u003c/a>, center accessible learning and joy for queer and trans folks. Cheung credits a free printmaking class led by Katie Gilmartin at San Francisco’s SOMArts as an inspiration for the work he does now with Unity. \u003c/p>\n\u003cp>“There were a lot of different creative scenes and spaces that I think were really inspiring to me, and felt like I could really express myself how I wanted,” he says of growing up in Oakland and taking classes in San Francisco. “Being around other young queer folks and having the resources to learn printmaking for free was amazing. I feel like these types of resources and spaces are harder to find in the Bay and are even more important to have.”\u003c/p>\n\u003cp>In his solo work as an artist, Cheung paints canvases of nude figures, tender and impish and always finished with a wink. His paintings have been included in shows both nationally and internationally. For Cheung, even these moments of individual recognition are opportunities to build community: His exhibitions never seem to pass without a Unity Skate meetup and skateboard giveaway. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Pansy Twist\u003c/em> is a name borrowed from the \u003ca href=\"https://www.youtube.com/watch?v=I_kGP-AlEuk\" rel=\"noopener\" target=\"_blank\">title of a song\u003c/a> by London riot grrrl band Huggy Bear. “I think it’s a call to queer action and a call to crime,” Purnell says of the song. “I used to listen to it when I was a teenager and I thought it was the coolest song ever.” At Johansson Projects, the exhibition version of \u003cem>Pansy Twist\u003c/em> offers its own compelling call to action in its offer of D.I.T., or “do it together” (compared to D.I.Y.’s plea to “do it yourself”)—a celebration of the possibilities of community. \u003c/p>\n\u003cp>As Purnell puts it: “We hope somebody sees it and has a \u003cem>Pansy Twist\u003c/em> in their town.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Pansy Twists’ is on view at Johansson Projects Oct. 25, 2019–Jan. 4, 2020 with a reception on Saturday, Nov. 1. \u003ca href=\"https://www.johanssonprojects.com/portfolio/bogart-cheung-purnell/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bay Area writers Brontez Purnell and Ishmael Reed have been honored as part of a giant feature in the New York Times’ style magazine titled “\u003ca href=\"https://www.nytimes.com/interactive/2018/11/30/t-magazine/black-authors.html\" rel=\"noopener\" target=\"_blank\">Black Male Writers of Our Time\u003c/a>.”\u003c/p>\n\u003cp>With 32 writers both established and upcoming, the feature spread also includes creative direction by Oakland’s Boots Riley in a books-laden photo spread of suited-up black excellence. The list of writers honored also includes Rickey Laurentiis, Nathan Alan Davis, Brian Keith Jackson, Marcus Burke, James McBride and 25 others. \u003c/p>\n\u003cp>https://www.instagram.com/p/Bqz_-fOBT0Y/\u003c/p>\n\u003cp>Purnell, from Oakland, is the author of \u003cem>The Cruising Diaries\u003c/em>, \u003cem>Johnny Would You Love Me If My Dick Were Bigger\u003c/em>, and \u003cem>Since I Laid My Burden Down\u003c/em>. A member of the ’00s band Gravy Train!!!, he now fronts the punk band the Younger Lovers. In March, \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-brontez-purnell-fiction/\" rel=\"noopener\" target=\"_blank\">he won\u003c/a> the Whiting Award for fiction. \u003c/p>\n\u003cp>Reed moved to the Bay Area in 1970 after living in New York, where he co-founded the underground paper the \u003cem>East Village Other\u003c/em> and wrote the acclaimed novel \u003cem>Mumbo Jumbo\u003c/em>, among others. He taught at UC Berkeley for 25 years before moving to California College of the Arts. His collaborations with jazz musicians are plentiful; he was SFJAZZ’s poet laureate from 2012-2016.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See the \u003cem>New York Times\u003c/em> feature \u003ca href=\"https://www.nytimes.com/interactive/2018/11/30/t-magazine/black-authors.html\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Purnell, from Oakland, is the author of \u003cem>The Cruising Diaries\u003c/em>, \u003cem>Johnny Would You Love Me If My Dick Were Bigger\u003c/em>, and \u003cem>Since I Laid My Burden Down\u003c/em>. A member of the ’00s band Gravy Train!!!, he now fronts the punk band the Younger Lovers. In March, \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-brontez-purnell-fiction/\" rel=\"noopener\" target=\"_blank\">he won\u003c/a> the Whiting Award for fiction. \u003c/p>\n\u003cp>Reed moved to the Bay Area in 1970 after living in New York, where he co-founded the underground paper the \u003cem>East Village Other\u003c/em> and wrote the acclaimed novel \u003cem>Mumbo Jumbo\u003c/em>, among others. He taught at UC Berkeley for 25 years before moving to California College of the Arts. His collaborations with jazz musicians are plentiful; he was SFJAZZ’s poet laureate from 2012-2016.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bay Area writers Brontez Purnell and Esmé Weijun Wang both won the prestigious Whiting Award for Emerging Authors Wednesday.\u003c/p>\n\u003cp>This year’s 10 recipients learned they won at a ceremony in Manhattan Wednesday night. Each winner receives $50,000 from the \u003ca href=\"https://www.whiting.org/\" rel=\"noopener\" target=\"_blank\">Whiting Foundation\u003c/a>, a New York-based nonprofit that supports the arts.\u003c/p>\n\u003cp>[contextly_sidebar id=”OFBRtuwX8jbV5PVaXUtt16g9ngPSxQo2″]\u003c/p>\n\u003cp>Nobel laureate Toni Morrison was scheduled to speak at the ceremony but a snowstorm kept her from attending. Poet Elizabeth Alexander read Morrison’s prepared remarks, in which the 87-year-old author of books like \u003ci>Beloved\u003c/i> noted that as a descendant of slaves, she knew well “the struggle to be allowed to learn to read.” She also included a line from her novel \u003ci>The Bluest Eye,\u003c/i> which Morrison said she used to “attract or repulse or simply shock the reader — anything to get her or his attention.”\u003c/p>\n\u003cp>“My sincere congratulations to the winners of the 2018 Whiting Award come from an intimate knowledge of the power and difficulty of the task,” Morrison noted.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Established in 1985 by Whiting Foundation, the $50,000 prize is awarded to writers to help “fulfill the promise of superior literary work.” Previous winners include Michael Cunningham, Jonathan Franzen and Jorie Graham.\u003c/p>\n\u003cp>Purnell, who won the Whiting Award for his 2017 novel \u003ci>Since I Laid My Burden Down\u003c/i>, lives in Oakland, where he is a fixture in the local queer-punk-art scene. Other books of his include \u003ca href=\"https://www.kqed.org/arts/10139643/gimme-action-bay-area-comic-artist-janelle-hessig-publishes-first-book\" rel=\"noopener\" target=\"_blank\">\u003ci>The Cruising Diaries\u003c/i>\u003c/a> and \u003ci>Johnny Would You Love Me If My Dick Were Bigger.\u003c/i> He’s also the singer of the band Younger Lovers and is the founder of the Brontez Purnell Dance Company.\u003c/p>\n\u003cp>\u003ci>Since I Laid My Burden Down\u003c/i> follows DeShawn, a queer black punk in Oakland who goes home to Alabama for a funeral. A transplant from Alabama himself, Purnell has said the book is not real, but that his life and DeShawn’s intersect. (Read an excerpt from the book at the \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-brontez-purnell-fiction/\" rel=\"noopener\" target=\"_blank\">\u003cem>Paris Review\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>“It zigs and zags so much that I actually could not give you a percentage,” Purnell told the \u003ca href=\"https://www.sfchronicle.com/books/article/Brontez-Purnell-s-novel-overlaps-his-queer-12230029.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle last year\u003c/a>. “There’s no way to quantify it because it’s really hard, and I don’t think it would help you understand any more.”\u003c/p>\n\u003cp>Wang, who won the Whiting Award for her nonfiction work, is the author of \u003cem>The Border of Paradise,\u003c/em> one of NPR’s \u003ca href=\"https://www.npr.org/2016/04/14/471622069/gothic-family-drama-at-the-border-of-paradise\" rel=\"noopener\" target=\"_blank\">favorite books of 2016\u003c/a>. A first generation Taiwanese-American who came to San Francisco via the Midwest, Wang wrote her first essay for the Toast while waiting for \u003ci>Border\u003c/i> to be published. The essay received “remarkable feedback,” which led her to write more.\u003c/p>\n\u003cp>Since then, she’s been published in \u003ci>The Believer,\u003c/i> Salon and other publications. Her collection of essays called, \u003cem>The Collected Schizophrenias\u003c/em> won the 2016 \u003ca href=\"https://www.graywolfpress.org/blogs/esme-weijun-wang-wins-graywolf-press-nonfiction-prize\" rel=\"noopener\" target=\"_blank\">Graywolf Press Nonfiction Prize,\u003c/a> which she completed while battling Lyme disease. (Read an excerpt from her essay collection at the \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-esme-weijun-wang-nonfiction/\" rel=\"noopener\" target=\"_blank\">\u003cem>Paris Review\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>“Lyme has taken so much from me, including the ability to sit at a laptop for hours at a time,” Wang told the \u003ca href=\"http://prairieschooner.unl.edu/blog/be-patient-keep-working-be-persistent-interview-esm%C3%A9-weijun-wang\" rel=\"noopener\" target=\"_blank\">\u003ci>Prarie Schooner,\u003c/i>\u003c/a> a national literary quarterly published by University of Nebraska-Lincoln. “Because the disease has impacted my brain, my cognition is also affected. I’ve had to go about writing in a very different way because of the limitations of my body.”\u003c/p>\n\u003cp>Other 2018 Whiting Award honorees included poets Tommy Pico and Rickey Laurentiis, dramatist Nathan Alan Davis, poet-nonfiction writer Anne Boyer, novelists Patty Yumi Cottrell and Weike Wang, and playwrights Antoinette Nwandu and Hansol Jung. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Associated Press contributed to this report.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area writers Brontez Purnell and Esmé Weijun Wang both won the prestigious Whiting Award for Emerging Authors Wednesday.\u003c/p>\n\u003cp>This year’s 10 recipients learned they won at a ceremony in Manhattan Wednesday night. Each winner receives $50,000 from the \u003ca href=\"https://www.whiting.org/\" rel=\"noopener\" target=\"_blank\">Whiting Foundation\u003c/a>, a New York-based nonprofit that supports the arts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Nobel laureate Toni Morrison was scheduled to speak at the ceremony but a snowstorm kept her from attending. Poet Elizabeth Alexander read Morrison’s prepared remarks, in which the 87-year-old author of books like \u003ci>Beloved\u003c/i> noted that as a descendant of slaves, she knew well “the struggle to be allowed to learn to read.” She also included a line from her novel \u003ci>The Bluest Eye,\u003c/i> which Morrison said she used to “attract or repulse or simply shock the reader — anything to get her or his attention.”\u003c/p>\n\u003cp>“My sincere congratulations to the winners of the 2018 Whiting Award come from an intimate knowledge of the power and difficulty of the task,” Morrison noted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Established in 1985 by Whiting Foundation, the $50,000 prize is awarded to writers to help “fulfill the promise of superior literary work.” Previous winners include Michael Cunningham, Jonathan Franzen and Jorie Graham.\u003c/p>\n\u003cp>Purnell, who won the Whiting Award for his 2017 novel \u003ci>Since I Laid My Burden Down\u003c/i>, lives in Oakland, where he is a fixture in the local queer-punk-art scene. Other books of his include \u003ca href=\"https://www.kqed.org/arts/10139643/gimme-action-bay-area-comic-artist-janelle-hessig-publishes-first-book\" rel=\"noopener\" target=\"_blank\">\u003ci>The Cruising Diaries\u003c/i>\u003c/a> and \u003ci>Johnny Would You Love Me If My Dick Were Bigger.\u003c/i> He’s also the singer of the band Younger Lovers and is the founder of the Brontez Purnell Dance Company.\u003c/p>\n\u003cp>\u003ci>Since I Laid My Burden Down\u003c/i> follows DeShawn, a queer black punk in Oakland who goes home to Alabama for a funeral. A transplant from Alabama himself, Purnell has said the book is not real, but that his life and DeShawn’s intersect. (Read an excerpt from the book at the \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-brontez-purnell-fiction/\" rel=\"noopener\" target=\"_blank\">\u003cem>Paris Review\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>“It zigs and zags so much that I actually could not give you a percentage,” Purnell told the \u003ca href=\"https://www.sfchronicle.com/books/article/Brontez-Purnell-s-novel-overlaps-his-queer-12230029.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle last year\u003c/a>. “There’s no way to quantify it because it’s really hard, and I don’t think it would help you understand any more.”\u003c/p>\n\u003cp>Wang, who won the Whiting Award for her nonfiction work, is the author of \u003cem>The Border of Paradise,\u003c/em> one of NPR’s \u003ca href=\"https://www.npr.org/2016/04/14/471622069/gothic-family-drama-at-the-border-of-paradise\" rel=\"noopener\" target=\"_blank\">favorite books of 2016\u003c/a>. A first generation Taiwanese-American who came to San Francisco via the Midwest, Wang wrote her first essay for the Toast while waiting for \u003ci>Border\u003c/i> to be published. The essay received “remarkable feedback,” which led her to write more.\u003c/p>\n\u003cp>Since then, she’s been published in \u003ci>The Believer,\u003c/i> Salon and other publications. Her collection of essays called, \u003cem>The Collected Schizophrenias\u003c/em> won the 2016 \u003ca href=\"https://www.graywolfpress.org/blogs/esme-weijun-wang-wins-graywolf-press-nonfiction-prize\" rel=\"noopener\" target=\"_blank\">Graywolf Press Nonfiction Prize,\u003c/a> which she completed while battling Lyme disease. (Read an excerpt from her essay collection at the \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-esme-weijun-wang-nonfiction/\" rel=\"noopener\" target=\"_blank\">\u003cem>Paris Review\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>“Lyme has taken so much from me, including the ability to sit at a laptop for hours at a time,” Wang told the \u003ca href=\"http://prairieschooner.unl.edu/blog/be-patient-keep-working-be-persistent-interview-esm%C3%A9-weijun-wang\" rel=\"noopener\" target=\"_blank\">\u003ci>Prarie Schooner,\u003c/i>\u003c/a> a national literary quarterly published by University of Nebraska-Lincoln. “Because the disease has impacted my brain, my cognition is also affected. I’ve had to go about writing in a very different way because of the limitations of my body.”\u003c/p>\n\u003cp>Other 2018 Whiting Award honorees included poets Tommy Pico and Rickey Laurentiis, dramatist Nathan Alan Davis, poet-nonfiction writer Anne Boyer, novelists Patty Yumi Cottrell and Weike Wang, and playwrights Antoinette Nwandu and Hansol Jung. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Associated Press contributed to this report.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“‘Pioneer’ — I have trouble with that word,” says Brontez Purnell, sitting in the sunny backyard of his West Oakland home and grasping for the best language with which to describe Ed Mock.\u003c/p>\n\u003cp>It’s a task that the popular dancer, musician, author, and visual artist has meditated on for the past two years while directing his first documentary — about influential San Francisco dancer Ed Mock, who died from AIDS in 1986. Mock’s work was definitely daring: experimental, free, genre-bending performance at the forefront of the alternative West Coast dance scene in the 1970s. But with \u003cem>Unstoppable Feat: The Dances of Ed Mock\u003c/em>, Purnell is more interested in identifying lineages than he is in applauding originality.\u003c/p>\n\u003cp>“It’s not always to me about being so cutting-edge, I feel like we are soldiers in a tradition,” Purnell says in a rough cut of the film. “I want people to look at this and know that we have brothers and sisters all throughout history, and we also have to keep in the tradition of knowing what our past is.”\u003c/p>\n\u003cfigure id=\"attachment_13235777\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235777\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-800x1136.jpg\" alt=\"\" width=\"800\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-800x1136.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-768x1091.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1020x1449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1920x2727.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1180x1676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-960x1364.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-375x533.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-520x739.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally from Chicago, story has it that Mock’s first time dancing was when he climbed on top of his parents’ poolroom as a child and did a little number for the customers. Mock went on to study with esteemed teachers such as Jimmy Payne, Katherine Dunham, and Lester Horton. In 1966, he moved to San Francisco and became a choreographer and dance instructor himself, teaching at ACT and elsewhere. With a specialty in improvisation and blending an array of styles, from mime techniques to jazz dance, Mock soon became a star of the San Francisco dance scene.\u003c/p>\n\u003cp>Purnell describes Mock’s work as proto-performance art — before the discipline had really taken hold — as well as crucial, under-historicized influence. “For my own work, Mock represents the missing choreographic link between Alvin Ailey, Anna Halprin, and Bill T. Jones,” he writes in a statement about the film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The documentary is filled with joyous recollections of not only Mock’s dancing, but his magnetic personality. In interviews interspersed with clips of Mock performing and portraits of him from Lynne Redding’s beautiful photographic homage \u003ca href=\"http://www.edmockbook.com/\">\u003cem>Ed Mock and Company Dance\u003c/em>\u003c/a>, Mock’s former friends and students describe him as a revered instructor, a widely desired and fluid romantic partner, and an always-fashionable socialite who unwaveringly commanded the room.\u003c/p>\n\u003cfigure id=\"attachment_13235775\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235775\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-800x1009.jpg\" alt=\"\" width=\"800\" height=\"1009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-768x969.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1920x2422.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1180x1489.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-960x1211.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-240x303.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-375x473.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-520x656.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He knew that he was a black man who was also a beacon for us young people of color,” says dancer Rhodessa Jones in the film. “He knew that all of that was going down when we were watching him in class.”\u003c/p>\n\u003cp>The documentary serves as a peek into the artistic culture of San Francisco in the ’60s and ’70s: spontaneous, bohemian, sexual, flamboyant. It’s also a reflection on the abruptness with which so many artistic lineages were cut short due to the AIDS epidemic. Throughout, a lingering question hovers over the film: What else would Mock have achieved; how many more dancers would Mock have directly influenced if he hadn’t died so young?\u003c/p>\n\u003cp>“It’s really satisfying to me to just know that there \u003cem>was\u003c/em> an Ed,” say Purnell. “I feel like it’s kind of engrained that dance is a matriarchal tradition, which is totally fine, but with the AIDS epidemic and having so many of those artists swept away, it was like: Who was this generation of men making this kind of abstract work; What were their lives like?”\u003c/p>\n\u003cp>Purnell, who now heads the Brontez Purnell Dance Company, first became aware of Mock when prolific Bay Area dancer and choreographer Amara Tabor-Smith, who studied with Mock and appears in the film, told Purnell that a dance piece of his reminded her of Mock’s work. Years later, Tabor-Smith produced a ritualistic public performance tribute to Mock entitled \u003cem>He Moved Swiftly but Gently Down a Not Too Crowded Street: Ed Mock and Other True Tales in a City That Once Was\u003c/em>, in which Purnell took part. The experience cemented his interest in researching and preserving Mock’s legacy.\u003c/p>\n\u003cp>“I was just like, ‘Oh my god, that’s my dad,’” Purnell recalls. “’That is definitely an ancestor I never knew existed.’”\u003c/p>\n\u003cfigure id=\"attachment_13235774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235774\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-800x639.jpg\" alt=\"\" width=\"800\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-520x415.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Purnell finally received funding for the project about two years ago, and is currently in the final stages of post-production. As part of the process, he did a residency at The Lab in San Francisco that consisted of multiple events and culminated in a screening of a rough cut of the film at the end of March. In mid-March, Purnell threw the No New Art No New Dance Fest. That night at The Lab, he stalked around the room in white overalls covered in the words “STOP MEN” wearing a painting like a poncho and pasted paper to his forehead with spit while a collaborator scribbled on the stage with a mop and a bucket of black paint.\u003c/p>\n\u003cp>\u003ca href=\"http://https://youtu.be/fbxspKZA7Zc\">http://https://youtu.be/fbxspKZA7Zc\u003c/a>\u003c/p>\n\u003cp>Although Purnell is definitely a multidisciplinary artist, those who know his in-your-face work might be surprised at the thought of him making a straight-forward documentary. Purnell promises to enliven the format with poetry by Marvin K White and dance interludes featuring remixed choreographies of Mock’s work — in effect, taking up and expanding a creative lineage cut short.\u003c/p>\n\u003cp>“The cross-section of his career, placement in the underground dance world, and experiences as a gay black man who died of AIDS early in the pandemic, these parallel my life and are barely written or recorded,” writes Purnell in his statement. “We — artists, Black queers, Bay Area dancers, HIV+ gay men — have to extract our collective past and create the historical record.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Unstoppable Feat: The Dances of Ed Mock’ screens at the \u003ca href=\"http://www.starlinesocialclub.com\">Starline Social Club\u003c/a> on Friday, May 26, at 7:30pm and at \u003ca href=\"http://www.thelab.org/\">The Lab\u003c/a> on Wednesday, May 31, at 8pm.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“‘Pioneer’ — I have trouble with that word,” says Brontez Purnell, sitting in the sunny backyard of his West Oakland home and grasping for the best language with which to describe Ed Mock.\u003c/p>\n\u003cp>It’s a task that the popular dancer, musician, author, and visual artist has meditated on for the past two years while directing his first documentary — about influential San Francisco dancer Ed Mock, who died from AIDS in 1986. Mock’s work was definitely daring: experimental, free, genre-bending performance at the forefront of the alternative West Coast dance scene in the 1970s. But with \u003cem>Unstoppable Feat: The Dances of Ed Mock\u003c/em>, Purnell is more interested in identifying lineages than he is in applauding originality.\u003c/p>\n\u003cp>“It’s not always to me about being so cutting-edge, I feel like we are soldiers in a tradition,” Purnell says in a rough cut of the film. “I want people to look at this and know that we have brothers and sisters all throughout history, and we also have to keep in the tradition of knowing what our past is.”\u003c/p>\n\u003cfigure id=\"attachment_13235777\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235777\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-800x1136.jpg\" alt=\"\" width=\"800\" height=\"1136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-800x1136.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-768x1091.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1020x1449.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1920x2727.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-1180x1676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-960x1364.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-375x533.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/80-25-7-KQED-520x739.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally from Chicago, story has it that Mock’s first time dancing was when he climbed on top of his parents’ poolroom as a child and did a little number for the customers. Mock went on to study with esteemed teachers such as Jimmy Payne, Katherine Dunham, and Lester Horton. In 1966, he moved to San Francisco and became a choreographer and dance instructor himself, teaching at ACT and elsewhere. With a specialty in improvisation and blending an array of styles, from mime techniques to jazz dance, Mock soon became a star of the San Francisco dance scene.\u003c/p>\n\u003cp>Purnell describes Mock’s work as proto-performance art — before the discipline had really taken hold — as well as crucial, under-historicized influence. “For my own work, Mock represents the missing choreographic link between Alvin Ailey, Anna Halprin, and Bill T. Jones,” he writes in a statement about the film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The documentary is filled with joyous recollections of not only Mock’s dancing, but his magnetic personality. In interviews interspersed with clips of Mock performing and portraits of him from Lynne Redding’s beautiful photographic homage \u003ca href=\"http://www.edmockbook.com/\">\u003cem>Ed Mock and Company Dance\u003c/em>\u003c/a>, Mock’s former friends and students describe him as a revered instructor, a widely desired and fluid romantic partner, and an always-fashionable socialite who unwaveringly commanded the room.\u003c/p>\n\u003cfigure id=\"attachment_13235775\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235775\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-800x1009.jpg\" alt=\"\" width=\"800\" height=\"1009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-800x1009.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-768x969.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1020x1287.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1920x2422.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-1180x1489.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-960x1211.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-240x303.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-375x473.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/81-121a-15-KQED-520x656.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He knew that he was a black man who was also a beacon for us young people of color,” says dancer Rhodessa Jones in the film. “He knew that all of that was going down when we were watching him in class.”\u003c/p>\n\u003cp>The documentary serves as a peek into the artistic culture of San Francisco in the ’60s and ’70s: spontaneous, bohemian, sexual, flamboyant. It’s also a reflection on the abruptness with which so many artistic lineages were cut short due to the AIDS epidemic. Throughout, a lingering question hovers over the film: What else would Mock have achieved; how many more dancers would Mock have directly influenced if he hadn’t died so young?\u003c/p>\n\u003cp>“It’s really satisfying to me to just know that there \u003cem>was\u003c/em> an Ed,” say Purnell. “I feel like it’s kind of engrained that dance is a matriarchal tradition, which is totally fine, but with the AIDS epidemic and having so many of those artists swept away, it was like: Who was this generation of men making this kind of abstract work; What were their lives like?”\u003c/p>\n\u003cp>Purnell, who now heads the Brontez Purnell Dance Company, first became aware of Mock when prolific Bay Area dancer and choreographer Amara Tabor-Smith, who studied with Mock and appears in the film, told Purnell that a dance piece of his reminded her of Mock’s work. Years later, Tabor-Smith produced a ritualistic public performance tribute to Mock entitled \u003cem>He Moved Swiftly but Gently Down a Not Too Crowded Street: Ed Mock and Other True Tales in a City That Once Was\u003c/em>, in which Purnell took part. The experience cemented his interest in researching and preserving Mock’s legacy.\u003c/p>\n\u003cp>“I was just like, ‘Oh my god, that’s my dad,’” Purnell recalls. “’That is definitely an ancestor I never knew existed.’”\u003c/p>\n\u003cfigure id=\"attachment_13235774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235774\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-800x639.jpg\" alt=\"\" width=\"800\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-1020x815.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-1180x943.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-960x767.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED-520x415.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/84-1-24-KQED.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Mock. \u003ccite>(Courtesy Lynne Redding. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Purnell finally received funding for the project about two years ago, and is currently in the final stages of post-production. As part of the process, he did a residency at The Lab in San Francisco that consisted of multiple events and culminated in a screening of a rough cut of the film at the end of March. In mid-March, Purnell threw the No New Art No New Dance Fest. That night at The Lab, he stalked around the room in white overalls covered in the words “STOP MEN” wearing a painting like a poncho and pasted paper to his forehead with spit while a collaborator scribbled on the stage with a mop and a bucket of black paint.\u003c/p>\n\u003cp>\u003ca href=\"http://https://youtu.be/fbxspKZA7Zc\">http://https://youtu.be/fbxspKZA7Zc\u003c/a>\u003c/p>\n\u003cp>Although Purnell is definitely a multidisciplinary artist, those who know his in-your-face work might be surprised at the thought of him making a straight-forward documentary. Purnell promises to enliven the format with poetry by Marvin K White and dance interludes featuring remixed choreographies of Mock’s work — in effect, taking up and expanding a creative lineage cut short.\u003c/p>\n\u003cp>“The cross-section of his career, placement in the underground dance world, and experiences as a gay black man who died of AIDS early in the pandemic, these parallel my life and are barely written or recorded,” writes Purnell in his statement. “We — artists, Black queers, Bay Area dancers, HIV+ gay men — have to extract our collective past and create the historical record.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Unstoppable Feat: The Dances of Ed Mock’ screens at the \u003ca href=\"http://www.starlinesocialclub.com\">Starline Social Club\u003c/a> on Friday, May 26, at 7:30pm and at \u003ca href=\"http://www.thelab.org/\">The Lab\u003c/a> on Wednesday, May 31, at 8pm.\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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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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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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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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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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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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
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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