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"content": "\u003cp>When fashion designer Tan France got the call to audition for the Netflix makeover series \u003cem>Queer Eye, \u003c/em>his initial reaction was to say no. France, the gay son of Pakistani-Muslim immigrants, didn’t want to take on the burden of representing his community—especially on television.\u003c/p>\n\u003cp>“The thought of being one of the very first openly gay South Asian men on a major show. … That pressure was so hard to handle,” he says. “The pressure of being one of the first to do something is massively stressful.”\u003c/p>\n\u003cfigure id=\"attachment_13866204\" class=\"wp-caption alignright\" style=\"max-width: 395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866204\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85.jpg\" alt=\"'Naturally Tan' by Tan France\" width=\"395\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85-160x243.jpg 160w\" sizes=\"(max-width: 395px) 100vw, 395px\">\u003cfigcaption class=\"wp-caption-text\">‘Naturally Tan’ by Tan France \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But then France began to reflect on the racism he had experienced throughout his life. Growing up in a small town in England, bullies slapped him in the face, punched him in the gut and called him racist slurs. After the terrorist attacks of Sept. 11, 2001, he was harassed and called a “terrorist” on the street. He is still routinely questioned by TSA when he travels.\u003c/p>\n\u003cp>As France thought about these experiences, he began to reconsider auditioning for \u003cem>Queer Eye: \u003c/em>“I could have an opportunity to change the narrative for my people,” he says. “And so that’s why I decided to take the actual audition. … I’ve got to continue to show that Pakistanis are wonderful people, that we are caring people.”\u003c/p>\n\u003cp>France reflects on his childhood, his career in fashion and on his role on \u003cem>Queer Eye\u003c/em> in the new memoir, \u003cem>Naturally Tan. \u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On growing up Pakistani in the U.K., and being bullied as a kid \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the age of five or six, when you get hit for your skin color, it makes no sense, because you don’t see that as a problem. Violence was ever-present in my life. That was something I never escaped, I just saw it as normal. … I remember saying this to my husband, that I was never bullied as a kid, and then I would talk about my childhood and he was like, “You’ve said you haven’t been bullied but that absolutely is bullying!” The strange thing is, we never saw it as bullying. It was just a matter of fact. … I don’t think anyone ever noticed [I was gay], I think that they were just so consumed with my color that they just seemed to lose sight of the fact that I was also homosexual.\u003c/p>\n\u003cp>\u003cstrong>On being exposed to fashion at a young age because his grandfather owned a denim factory \u003c/strong>\u003c/p>\n\u003cp>They were making denim [with] Disney prints on them, and so I was able to experience Western clothing like most South Asian kids will never have the luxury of doing. I was able to see how a piece of fabric turns into a garment that you will actually wear, and so I was privy to the ins and outs of the process. And at the end of that process I got to keep some of those things that were slightly off — like a stitch was wrong or a color was off—those things I got to keep. So I was able to experiment with clothes more so than most people. Even though I wasn’t allowed to wear it around the house, I was still exposed to that.\u003c/p>\n\u003cp>\u003cstrong>On experiencing racism after the Sept. 11 attacks \u003c/strong>\u003c/p>\n\u003cp>I saw the planes going into the towers over and over again on the news and I felt immediate dread, because it was so clear what the message was: that it’s Muslims. There was a lot of talk about Pakistan and Afghanistan. I’d already experienced 17 years of racism for being Pakistani, and the interesting thing was, I looked around the room at the other Pakistani people, and there weren’t that many, and every one of us had the exact same look of complete dread like, “Oh no, we’re going to pay for this.” And it happened immediately.\u003c/p>\n\u003cp>\u003cstrong>On the stress of running three fashion businesses and the toll it took on his mental health\u003c/strong>\u003c/p>\n\u003cp>I had built up these three businesses that, thankfully, were doing incredibly well. But the production was getting more and more problematic, and the thought of continuing on with that was just too much to handle. And so I got really depressed. … I never experienced that before. I don’t suffer bouts of depression. I’m one of the most positive people I know. I always can see a way out of a situation and how to get out of a situation to make myself happy again. But with that I couldn’t see a time when I was going to be happy in business. So I started to really think of how I could solve the problem. It wasn’t really solving the problem, it was just getting out of the situation, and getting out of life.\u003c/p>\n\u003cp>And so I had a moment one day … on my way home from work, I called my husband and I told him that I need him to talk to me and help me. I feel like I want to drive off this bridge and I’m almost positive I’m going to do this if he’s not there for me. He’s wonderful. He’s an angel sent down from heaven, and he talked me through it, and urged me to just get home as soon as possible. He was going to leave work and come home to make sure I was OK, and then when I got home his answer was simple. It was just, “Let them go. You don’t have anything to prove.”\u003c/p>\n\u003cp>I’ve always been the kind of person my whole life that has felt I have something to prove and … I know it’s because of my childhood and the amount of abuse we suffered and I suffered, that I’ve always felt like I had to prove something and I feel that even to this day. Every day when I get out of bed and I work as hard as I do, it’s to prove my worth. And so he said, “You don’t have to prove yourself in this business anymore. You’ve made it. Your businesses are successful. Your plan was to always sell them maybe 20 years from now, but sell them now, get rid of them, we don’t need any more money.” And so I did.\u003c/p>\n\u003cp>\u003cstrong>On telling his Muslim family he was marrying a man \u003c/strong>\u003c/p>\n\u003cp>My dad died when I was young. He died just before I was 14 and I wasn’t out at the time, so he never would have known that I had desires to marry a man. My mom, when I told her, my mom is quite liberal, she practices her religion but she’s quite liberal and … is quite docile. She just wants to keep the peace and go with the flow, and as long as everyone’s happy she’s fine. And so that was the case with me. I told her that I was marrying a man, she was like OK. … There was never a fight about it. There was never really a discussion really about it. She was just so matter-of-fact about it and has been ever since.\u003c/p>\n\u003cp>And so it was quite easy for me. … The fact that she had a love marriage [with my father,] she [too] had gone against our cultural norms, which, back in the day—this was in the ’70s—was shocking, absolutely shocking. She was probably one of the very few people in her community, if not in her extended family, who would have had a love marriage. And so I think that that probably made it easier for her to understand.\u003c/p>\n\u003cp>But she always knew that I was the black sheep of the family. She always knew that I wasn’t going to have the same life as her other children. She knew from my very early age that I was nothing like her other children. She didn’t know how to articulate it, as I said, she’d never even heard the word “gay” before, but she just said I wasn’t like any of her other sons. … I was like her extra daughter.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=54BVvP7zvDQ\u003c/p>\n\u003cp>\u003cstrong>On his initial reluctance to join the \u003c/strong>\u003cem>\u003cstrong>Queer Eye\u003c/strong>\u003c/em>\u003cstrong> cast \u003c/strong>\u003c/p>\n\u003cp>I was worried about the people that I know and love being attacked by people within our community. I wasn’t concerned about what Caucasian people might think of it, necessarily. It was what my own people would think of it, that they would be concerned that my family have a gay man who’s very openly gay, very unabashedly gay, so publicly. … In our culture you don’t represent yourself, you represent your family. And as far as my culture is concerned, when you are … “sinning” in their eyes, you are bringing shame to your community.\u003c/p>\n\u003cp>\u003cstrong>On how doing \u003c/strong>\u003cem>\u003cstrong>Queer Eye \u003c/strong>\u003c/em>\u003cstrong>has pushed his personal boundaries \u003c/strong>\u003c/p>\n\u003cp>Being around Jonathan Van Ness changed my boundaries! … I was always very, very much Westernized, but I’ve become more so with the things I will discuss. I was always quite foul mouthed. I’ve always been foul mouthed. And that’s just very typically English, especially in working-class culture, and my parents were definitely working class. … I have become more vulgar now, because … that’s the humor on set. We’re just a silly, playful bunch.\u003c/p>\n\u003cp>And actually I love that side of me now that’s able to just be free and talk about things that people are really going through. I was quite guarded before. … All the [\u003cem>Queer Ey\u003c/em>e] boys will say I’m the most bounded person they know. If I don’t want something to happen, if I do not want something discussed, if I do not want to be close, I will make it very clear. I set my intentions with people very clearly, very quickly, very early on. And that’s something that’s quite rare for Americans, I think. …\u003c/p>\n\u003cp>Please know that this is my personal opinion, but being foreign here in the U.S. I found that Americans are quite passive-aggressive when it comes to setting their true intentions when they first meet friends. But the British culture we were a lot more open about what we will accept or not accept from our friends and family, and so I think that’s quite jarring for the boys. So I’ve taught them my boundaries, but they’ve also pushed them, and the parts that have been pushed are for the better, as far as I’m concerned.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Mooj Zadie produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Fashion+Expert+Tan+France+Nearly+Turned+Down+%27Queer+Eye%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "\"The thought of being one of the very first openly gay South Asian men on a major show. ... That pressure was so hard to handle,\" France says of his role on the Netflix makeover series. ",
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"title": "Why Fashion Expert Tan France Nearly Turned Down 'Queer Eye' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When fashion designer Tan France got the call to audition for the Netflix makeover series \u003cem>Queer Eye, \u003c/em>his initial reaction was to say no. France, the gay son of Pakistani-Muslim immigrants, didn’t want to take on the burden of representing his community—especially on television.\u003c/p>\n\u003cp>“The thought of being one of the very first openly gay South Asian men on a major show. … That pressure was so hard to handle,” he says. “The pressure of being one of the first to do something is massively stressful.”\u003c/p>\n\u003cfigure id=\"attachment_13866204\" class=\"wp-caption alignright\" style=\"max-width: 395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866204\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85.jpg\" alt=\"'Naturally Tan' by Tan France\" width=\"395\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781250208668_custom-acac830e99b85a37bd4c57193bd0b5981a358eed-s600-c85-160x243.jpg 160w\" sizes=\"(max-width: 395px) 100vw, 395px\">\u003cfigcaption class=\"wp-caption-text\">‘Naturally Tan’ by Tan France \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But then France began to reflect on the racism he had experienced throughout his life. Growing up in a small town in England, bullies slapped him in the face, punched him in the gut and called him racist slurs. After the terrorist attacks of Sept. 11, 2001, he was harassed and called a “terrorist” on the street. He is still routinely questioned by TSA when he travels.\u003c/p>\n\u003cp>As France thought about these experiences, he began to reconsider auditioning for \u003cem>Queer Eye: \u003c/em>“I could have an opportunity to change the narrative for my people,” he says. “And so that’s why I decided to take the actual audition. … I’ve got to continue to show that Pakistanis are wonderful people, that we are caring people.”\u003c/p>\n\u003cp>France reflects on his childhood, his career in fashion and on his role on \u003cem>Queer Eye\u003c/em> in the new memoir, \u003cem>Naturally Tan. \u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On growing up Pakistani in the U.K., and being bullied as a kid \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the age of five or six, when you get hit for your skin color, it makes no sense, because you don’t see that as a problem. Violence was ever-present in my life. That was something I never escaped, I just saw it as normal. … I remember saying this to my husband, that I was never bullied as a kid, and then I would talk about my childhood and he was like, “You’ve said you haven’t been bullied but that absolutely is bullying!” The strange thing is, we never saw it as bullying. It was just a matter of fact. … I don’t think anyone ever noticed [I was gay], I think that they were just so consumed with my color that they just seemed to lose sight of the fact that I was also homosexual.\u003c/p>\n\u003cp>\u003cstrong>On being exposed to fashion at a young age because his grandfather owned a denim factory \u003c/strong>\u003c/p>\n\u003cp>They were making denim [with] Disney prints on them, and so I was able to experience Western clothing like most South Asian kids will never have the luxury of doing. I was able to see how a piece of fabric turns into a garment that you will actually wear, and so I was privy to the ins and outs of the process. And at the end of that process I got to keep some of those things that were slightly off — like a stitch was wrong or a color was off—those things I got to keep. So I was able to experiment with clothes more so than most people. Even though I wasn’t allowed to wear it around the house, I was still exposed to that.\u003c/p>\n\u003cp>\u003cstrong>On experiencing racism after the Sept. 11 attacks \u003c/strong>\u003c/p>\n\u003cp>I saw the planes going into the towers over and over again on the news and I felt immediate dread, because it was so clear what the message was: that it’s Muslims. There was a lot of talk about Pakistan and Afghanistan. I’d already experienced 17 years of racism for being Pakistani, and the interesting thing was, I looked around the room at the other Pakistani people, and there weren’t that many, and every one of us had the exact same look of complete dread like, “Oh no, we’re going to pay for this.” And it happened immediately.\u003c/p>\n\u003cp>\u003cstrong>On the stress of running three fashion businesses and the toll it took on his mental health\u003c/strong>\u003c/p>\n\u003cp>I had built up these three businesses that, thankfully, were doing incredibly well. But the production was getting more and more problematic, and the thought of continuing on with that was just too much to handle. And so I got really depressed. … I never experienced that before. I don’t suffer bouts of depression. I’m one of the most positive people I know. I always can see a way out of a situation and how to get out of a situation to make myself happy again. But with that I couldn’t see a time when I was going to be happy in business. So I started to really think of how I could solve the problem. It wasn’t really solving the problem, it was just getting out of the situation, and getting out of life.\u003c/p>\n\u003cp>And so I had a moment one day … on my way home from work, I called my husband and I told him that I need him to talk to me and help me. I feel like I want to drive off this bridge and I’m almost positive I’m going to do this if he’s not there for me. He’s wonderful. He’s an angel sent down from heaven, and he talked me through it, and urged me to just get home as soon as possible. He was going to leave work and come home to make sure I was OK, and then when I got home his answer was simple. It was just, “Let them go. You don’t have anything to prove.”\u003c/p>\n\u003cp>I’ve always been the kind of person my whole life that has felt I have something to prove and … I know it’s because of my childhood and the amount of abuse we suffered and I suffered, that I’ve always felt like I had to prove something and I feel that even to this day. Every day when I get out of bed and I work as hard as I do, it’s to prove my worth. And so he said, “You don’t have to prove yourself in this business anymore. You’ve made it. Your businesses are successful. Your plan was to always sell them maybe 20 years from now, but sell them now, get rid of them, we don’t need any more money.” And so I did.\u003c/p>\n\u003cp>\u003cstrong>On telling his Muslim family he was marrying a man \u003c/strong>\u003c/p>\n\u003cp>My dad died when I was young. He died just before I was 14 and I wasn’t out at the time, so he never would have known that I had desires to marry a man. My mom, when I told her, my mom is quite liberal, she practices her religion but she’s quite liberal and … is quite docile. She just wants to keep the peace and go with the flow, and as long as everyone’s happy she’s fine. And so that was the case with me. I told her that I was marrying a man, she was like OK. … There was never a fight about it. There was never really a discussion really about it. She was just so matter-of-fact about it and has been ever since.\u003c/p>\n\u003cp>And so it was quite easy for me. … The fact that she had a love marriage [with my father,] she [too] had gone against our cultural norms, which, back in the day—this was in the ’70s—was shocking, absolutely shocking. She was probably one of the very few people in her community, if not in her extended family, who would have had a love marriage. And so I think that that probably made it easier for her to understand.\u003c/p>\n\u003cp>But she always knew that I was the black sheep of the family. She always knew that I wasn’t going to have the same life as her other children. She knew from my very early age that I was nothing like her other children. She didn’t know how to articulate it, as I said, she’d never even heard the word “gay” before, but she just said I wasn’t like any of her other sons. … I was like her extra daughter.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/54BVvP7zvDQ'\n title='//www.youtube.com/embed/54BVvP7zvDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On his initial reluctance to join the \u003c/strong>\u003cem>\u003cstrong>Queer Eye\u003c/strong>\u003c/em>\u003cstrong> cast \u003c/strong>\u003c/p>\n\u003cp>I was worried about the people that I know and love being attacked by people within our community. I wasn’t concerned about what Caucasian people might think of it, necessarily. It was what my own people would think of it, that they would be concerned that my family have a gay man who’s very openly gay, very unabashedly gay, so publicly. … In our culture you don’t represent yourself, you represent your family. And as far as my culture is concerned, when you are … “sinning” in their eyes, you are bringing shame to your community.\u003c/p>\n\u003cp>\u003cstrong>On how doing \u003c/strong>\u003cem>\u003cstrong>Queer Eye \u003c/strong>\u003c/em>\u003cstrong>has pushed his personal boundaries \u003c/strong>\u003c/p>\n\u003cp>Being around Jonathan Van Ness changed my boundaries! … I was always very, very much Westernized, but I’ve become more so with the things I will discuss. I was always quite foul mouthed. I’ve always been foul mouthed. And that’s just very typically English, especially in working-class culture, and my parents were definitely working class. … I have become more vulgar now, because … that’s the humor on set. We’re just a silly, playful bunch.\u003c/p>\n\u003cp>And actually I love that side of me now that’s able to just be free and talk about things that people are really going through. I was quite guarded before. … All the [\u003cem>Queer Ey\u003c/em>e] boys will say I’m the most bounded person they know. If I don’t want something to happen, if I do not want something discussed, if I do not want to be close, I will make it very clear. I set my intentions with people very clearly, very quickly, very early on. And that’s something that’s quite rare for Americans, I think. …\u003c/p>\n\u003cp>Please know that this is my personal opinion, but being foreign here in the U.S. I found that Americans are quite passive-aggressive when it comes to setting their true intentions when they first meet friends. But the British culture we were a lot more open about what we will accept or not accept from our friends and family, and so I think that’s quite jarring for the boys. So I’ve taught them my boundaries, but they’ve also pushed them, and the parts that have been pushed are for the better, as far as I’m concerned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Mooj Zadie produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Fashion+Expert+Tan+France+Nearly+Turned+Down+%27Queer+Eye%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Mayan Fashion a Feast for the Eyes in San Jose",
"headTitle": "Mayan Fashion a Feast for the Eyes in San Jose | KQED",
"content": "\u003cp>For thousands of years, Mayan women have woven their own fabrics, and embroidered on top of that to create works of art to wear on holidays and at religious ceremonies. In many ways, this dress has become iconic: what we think of when we think of modern Mayan culture.\u003c/p>\n\u003cp>The San Francisco Bay Area is home to a growing number of Mayans from Guatemala, including local members of a group called \u003ca href=\"http://www.ixchelfriends.org\" target=\"_blank\" rel=\"noopener\">Friends of the Ixchel Museum\u003c/a>, which is located in \u003ca href=\"https://museoixchel.org/home\" target=\"_blank\" rel=\"noopener\">Guatemala City\u003c/a>. (Ixchel is the Mayan goddess of weaving, among other things.)\u003c/p>\n\u003cp>So it was they made curator Amy DiPlacido of the \u003ca href=\"https://www.sjquiltmuseum.org\" target=\"_blank\" rel=\"noopener\">San Jose Museum of Quilts and Textiles\u003c/a> an offer she couldn’t refuse: an exhibition of Mayan traje (clothing), much of it dating back to the early 20th century, from their private collections here in the United States.\u003c/p>\n\u003cp>It’s not often you get the chance to move in close and stare at wearable art, but you can in San Jose, where the exhibition \u003cem>\u003ci>Mayan Traje: A Tradition in Transition\u003c/i> \u003c/em>presents the clothing on walls and manikins out in the open, not parked behind glass.\u003c/p>\n\u003cfigure id=\"attachment_13861828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut.jpg\" alt=\"Behold the Wall of Skirts. These fabrics feature ikat, a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Behold the Wall of Skirts. These fabrics feature ikat, a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This means you can really take in the quality of the weaving and embroidery; the creative choices made, the effort put in. It’s a feast for the eyes, for newbies and textile artists alike.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Really, this show is focusing on pieces never made for the tourist market but very traditional to the indigenous people,” DiPlacido said.\u003c/p>\n\u003cp>She explained there are four parts to the traditional woman’s outfit, or \u003cem>traje\u003c/em>: the boxy blouse up top called the \u003cem>huipal\u003c/em>, the ankle length skirt underneath, the apron, or \u003cem>delantal,\u003c/em> worn over that, and a \u003cem>faje\u003c/em>, or embroidered belt, that ties it all together.\u003c/p>\n\u003cp>For centuries, each Mayan village cultivated a distinctive visual tradition, a point of pride and handy visual guide announcing a woman’s hometown when she traveled in the region.\u003c/p>\n\u003cfigure id=\"attachment_13861827\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut.jpg\" alt=\"\" width=\"1920\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-1200x832.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of a Mayan weaver using a backstrap loom. So-called because the loom comes around the back of the weaver. The museum will feature a live demonstration on July 21, 2019, the opening date of the exhibit. \u003ccite>(Photo: Courtesy of Yolanda Alcorta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Mayans have acquired smart phones and satellite dishes just like the rest of us, and this exhibition is keen to show how the tradition has adapted to changing modern tastes.\u003c/p>\n\u003cp>Today, cloth is often purchased instead of woven by backstrap loom. \u003cem>Huipals\u003c/em> and \u003cem>delentales\u003c/em> now feature computer generated designs, sparkly rhinestones, and even cell phone pockets.\u003c/p>\n\u003cp>Mayan women also no longer feel constrained to represent their village with their dress. They’re free to wear designs of all kinds, and do. That said, there’s a keen awareness of how their tradition has been \u003ca href=\"https://globalvoices.org/2017/09/25/after-years-of-cultural-appropriation-mayan-weavers-want-legal-protection-for-their-heritage/\" target=\"_blank\" rel=\"noopener\">culturally appropriated\u003c/a> by non-indigenous designers and even the Guatemalan government, keen to use the art form to promote tourism.\u003c/p>\n\u003cp>That’s despite its historic neglect of indigenous Guatemalans, who make up approximately 40 percent of the population but account for \u003ca href=\"http://www.americasquarterly.org/content/repression-resistance-and-indigenous-rights-guatemala\">80 percent of the country’s poor\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13861833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861833\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut.jpg\" alt=\"Modern Maya aprons, or delentales, are flashy creatures, often featuring lace, rhinestones and beads. Hidden pockets hold necessities like phones. Unlike antique clothing, modern fashions spread like wildfire through the highlands of Guatemala, then give way quickly to the new, new thing.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Modern Maya aprons, or delentales, are flashy creatures, often featuring lace, rhinestones and beads. Hidden pockets hold necessities like phones. Unlike antique clothing, modern fashions spread like wildfire through the highlands of Guatemala, then give way quickly to the new, new thing. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Guatemalan Civil War that raged between 1960 and 1996 disproportionately victimized Mayans, and that’s a history you see reflected in the clothing as well. “The political upheaval changed the style of dress,” noted DiPlacido, adding something as basic as dyes were made of what was available.\u003c/p>\n\u003cp>The antique textiles have been through a lot: wear, washing, war. There are items that date to the 1850s, “but past that, you don’t usually see them anymore, because they do tend to wear down,” DiPlacido said.\u003c/p>\n\u003cp>The museum has posted explanatory text in English and Spanish, but perhaps it was a bridge too far to add Mam to the mix. Mam is a Mayan language spoken by about half a million people in throughout Central America. [youtube https://www.youtube.com/watch?v=j2WZsDB2LHM]\u003cbr>\nHere in the San Francisco Bay Area, there are just a few thousand Mam speakers. You can bet many of them will be making their way to this exhibition in the coming months.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp class=\"site-name\">\u003cem>\u003cstrong>\u003ci>Mayan Traje: A Tradition in Transition\u003c/i>\u003c/strong> runs July 21 – October 13, 2019 at the San Jose Museum of Quilts and Textiles. For more information, click \u003cstrong>\u003ca href=\"https://www.sjquiltmuseum.org/current-exhibitions\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Mayan Traje at the San Jose Museum of Quilts and Textiles is a rare opportunity to explore the history and creativity of the dress form.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For thousands of years, Mayan women have woven their own fabrics, and embroidered on top of that to create works of art to wear on holidays and at religious ceremonies. In many ways, this dress has become iconic: what we think of when we think of modern Mayan culture.\u003c/p>\n\u003cp>The San Francisco Bay Area is home to a growing number of Mayans from Guatemala, including local members of a group called \u003ca href=\"http://www.ixchelfriends.org\" target=\"_blank\" rel=\"noopener\">Friends of the Ixchel Museum\u003c/a>, which is located in \u003ca href=\"https://museoixchel.org/home\" target=\"_blank\" rel=\"noopener\">Guatemala City\u003c/a>. (Ixchel is the Mayan goddess of weaving, among other things.)\u003c/p>\n\u003cp>So it was they made curator Amy DiPlacido of the \u003ca href=\"https://www.sjquiltmuseum.org\" target=\"_blank\" rel=\"noopener\">San Jose Museum of Quilts and Textiles\u003c/a> an offer she couldn’t refuse: an exhibition of Mayan traje (clothing), much of it dating back to the early 20th century, from their private collections here in the United States.\u003c/p>\n\u003cp>It’s not often you get the chance to move in close and stare at wearable art, but you can in San Jose, where the exhibition \u003cem>\u003ci>Mayan Traje: A Tradition in Transition\u003c/i> \u003c/em>presents the clothing on walls and manikins out in the open, not parked behind glass.\u003c/p>\n\u003cfigure id=\"attachment_13861828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut.jpg\" alt=\"Behold the Wall of Skirts. These fabrics feature ikat, a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Behold the Wall of Skirts. These fabrics feature ikat, a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This means you can really take in the quality of the weaving and embroidery; the creative choices made, the effort put in. It’s a feast for the eyes, for newbies and textile artists alike.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Really, this show is focusing on pieces never made for the tourist market but very traditional to the indigenous people,” DiPlacido said.\u003c/p>\n\u003cp>She explained there are four parts to the traditional woman’s outfit, or \u003cem>traje\u003c/em>: the boxy blouse up top called the \u003cem>huipal\u003c/em>, the ankle length skirt underneath, the apron, or \u003cem>delantal,\u003c/em> worn over that, and a \u003cem>faje\u003c/em>, or embroidered belt, that ties it all together.\u003c/p>\n\u003cp>For centuries, each Mayan village cultivated a distinctive visual tradition, a point of pride and handy visual guide announcing a woman’s hometown when she traveled in the region.\u003c/p>\n\u003cfigure id=\"attachment_13861827\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut.jpg\" alt=\"\" width=\"1920\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-1200x832.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of a Mayan weaver using a backstrap loom. So-called because the loom comes around the back of the weaver. The museum will feature a live demonstration on July 21, 2019, the opening date of the exhibit. \u003ccite>(Photo: Courtesy of Yolanda Alcorta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Mayans have acquired smart phones and satellite dishes just like the rest of us, and this exhibition is keen to show how the tradition has adapted to changing modern tastes.\u003c/p>\n\u003cp>Today, cloth is often purchased instead of woven by backstrap loom. \u003cem>Huipals\u003c/em> and \u003cem>delentales\u003c/em> now feature computer generated designs, sparkly rhinestones, and even cell phone pockets.\u003c/p>\n\u003cp>Mayan women also no longer feel constrained to represent their village with their dress. They’re free to wear designs of all kinds, and do. That said, there’s a keen awareness of how their tradition has been \u003ca href=\"https://globalvoices.org/2017/09/25/after-years-of-cultural-appropriation-mayan-weavers-want-legal-protection-for-their-heritage/\" target=\"_blank\" rel=\"noopener\">culturally appropriated\u003c/a> by non-indigenous designers and even the Guatemalan government, keen to use the art form to promote tourism.\u003c/p>\n\u003cp>That’s despite its historic neglect of indigenous Guatemalans, who make up approximately 40 percent of the population but account for \u003ca href=\"http://www.americasquarterly.org/content/repression-resistance-and-indigenous-rights-guatemala\">80 percent of the country’s poor\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13861833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861833\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut.jpg\" alt=\"Modern Maya aprons, or delentales, are flashy creatures, often featuring lace, rhinestones and beads. Hidden pockets hold necessities like phones. Unlike antique clothing, modern fashions spread like wildfire through the highlands of Guatemala, then give way quickly to the new, new thing.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Modern Maya aprons, or delentales, are flashy creatures, often featuring lace, rhinestones and beads. Hidden pockets hold necessities like phones. Unlike antique clothing, modern fashions spread like wildfire through the highlands of Guatemala, then give way quickly to the new, new thing. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Guatemalan Civil War that raged between 1960 and 1996 disproportionately victimized Mayans, and that’s a history you see reflected in the clothing as well. “The political upheaval changed the style of dress,” noted DiPlacido, adding something as basic as dyes were made of what was available.\u003c/p>\n\u003cp>The antique textiles have been through a lot: wear, washing, war. There are items that date to the 1850s, “but past that, you don’t usually see them anymore, because they do tend to wear down,” DiPlacido said.\u003c/p>\n\u003cp>The museum has posted explanatory text in English and Spanish, but perhaps it was a bridge too far to add Mam to the mix. Mam is a Mayan language spoken by about half a million people in throughout Central America. \u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/j2WZsDB2LHM'\n title='//www.youtube.com/embed/j2WZsDB2LHM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nHere in the San Francisco Bay Area, there are just a few thousand Mam speakers. You can bet many of them will be making their way to this exhibition in the coming months.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp class=\"site-name\">\u003cem>\u003cstrong>\u003ci>Mayan Traje: A Tradition in Transition\u003c/i>\u003c/strong> runs July 21 – October 13, 2019 at the San Jose Museum of Quilts and Textiles. For more information, click \u003cstrong>\u003ca href=\"https://www.sjquiltmuseum.org/current-exhibitions\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’ve seen Dirty Pesos hoodies and shirts all around town, as well as in music videos. But it took me a while before I realized who the designer was.\u003c/p>\n\u003cp>I don’t recall when it all clicked, but when it did, I was like: \u003cem>Oh! I know Darius Gomez!\u003c/em>\u003c/p>\n\u003cp>I mean, it feels like everyone in the Bay knows Darius Gomez. He’s the son of longtime radio personality and community culture keeper Chuy Gomez. Back in the day, his pops used to bring him on the \u003ca href=\"https://www.youtube.com/watch?v=P50nSukq4jc\" target=\"_blank\" rel=\"noopener\">California Music Channel\u003c/a>, which I used to watch after middle school; I feel like I grew up with Darius.\u003c/p>\n\u003cfigure id=\"attachment_13857506\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-800x600.jpg\" alt=\"Darius Gomez showing his Dirty Pesos patches.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Darius Gomez showing his Dirty Pesos patches. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Far removed from the kid some might remember from the TV screen, Darius’ latest move is evidence of his maturation. After starting as an intern at \u003ca href=\"http://agwscreenworks.com/?page_id=29\">AGW Screen works\u003c/a> in San Leandro when he was 19, Darius launched his own clothing brand \u003ca href=\"https://dirtypesosworldwide.com/\">Dirty Pesos Worldwide\u003c/a> just about four years ago. Inspired by other Bay Area brands like \u003ca href=\"https://shmoplife.com/\">Shmoplife\u003c/a> and \u003ca href=\"https://cookiessf.com/\">Cookies SF\u003c/a>, Darius decided to put his ideas to work.\u003c/p>\n\u003cp>“The first two years were slow,” Darius told me when I met up with him in his warehouse, but “as soon as I dropped these hoodies, that’s when things just started flying off the shelf.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now 26, Darius has seen his clothes land on the backs of some the Bay’s top athletes and artists, including L.A. Rams player Marcus Peters and East Oakland rapper ALLBLACK.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For this week’s episode of \u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" target=\"_blank\" rel=\"noopener\">Rightnowish\u003c/a>, I talked to Darius about his clothing line, what his family thinks about his success and how it feels to have his clothes worn by some of the tightest and brightest out of the Bay Area. To hear our convo, click the link above!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve seen Dirty Pesos hoodies and shirts all around town, as well as in music videos. But it took me a while before I realized who the designer was.\u003c/p>\n\u003cp>I don’t recall when it all clicked, but when it did, I was like: \u003cem>Oh! I know Darius Gomez!\u003c/em>\u003c/p>\n\u003cp>I mean, it feels like everyone in the Bay knows Darius Gomez. He’s the son of longtime radio personality and community culture keeper Chuy Gomez. Back in the day, his pops used to bring him on the \u003ca href=\"https://www.youtube.com/watch?v=P50nSukq4jc\" target=\"_blank\" rel=\"noopener\">California Music Channel\u003c/a>, which I used to watch after middle school; I feel like I grew up with Darius.\u003c/p>\n\u003cfigure id=\"attachment_13857506\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-800x600.jpg\" alt=\"Darius Gomez showing his Dirty Pesos patches.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Darius Gomez showing his Dirty Pesos patches. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Far removed from the kid some might remember from the TV screen, Darius’ latest move is evidence of his maturation. After starting as an intern at \u003ca href=\"http://agwscreenworks.com/?page_id=29\">AGW Screen works\u003c/a> in San Leandro when he was 19, Darius launched his own clothing brand \u003ca href=\"https://dirtypesosworldwide.com/\">Dirty Pesos Worldwide\u003c/a> just about four years ago. Inspired by other Bay Area brands like \u003ca href=\"https://shmoplife.com/\">Shmoplife\u003c/a> and \u003ca href=\"https://cookiessf.com/\">Cookies SF\u003c/a>, Darius decided to put his ideas to work.\u003c/p>\n\u003cp>“The first two years were slow,” Darius told me when I met up with him in his warehouse, but “as soon as I dropped these hoodies, that’s when things just started flying off the shelf.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now 26, Darius has seen his clothes land on the backs of some the Bay’s top athletes and artists, including L.A. Rams player Marcus Peters and East Oakland rapper ALLBLACK.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For this week’s episode of \u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" target=\"_blank\" rel=\"noopener\">Rightnowish\u003c/a>, I talked to Darius about his clothing line, what his family thinks about his success and how it feels to have his clothes worn by some of the tightest and brightest out of the Bay Area. To hear our convo, click the link above!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Gucci Removes 'Blackface' Sweater After Twitter Drags Luxury Brand",
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"content": "\u003cp>Luxury brand Gucci has removed a sweater from store shelves and from its web site following complaints about the garment’s resemblance to blackface.\u003c/p>\n\u003cp>The black sweater, featuring a roll-up collar that covers the lower face with a wide red lip outline around the mouth, was part of Gucci’s Fall Winter 2018 line.\u003c/p>\n\u003cp>“Gucci deeply apologizes for the offense caused by the wool balaclava jumper,” the company \u003ca href=\"https://twitter.com/gucci/status/1093345744080306176\">said \u003c/a>in a statement late Wednesday. “We consider diversity to be a fundamental value to be fully upheld, respected, and at the forefront of every decision we make.”\u003c/p>\n\u003cfigure id=\"attachment_13850359\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850359\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/ap_19038406538240-997d3ceb731efed8c2455a3c3f03f09b1b3a41ab-800x600.jpg\" alt=\"A screenshot showing Gucci's black turtleneck sweater before the luxury brand pulled it from its online and physical stores. Gucci apologized following complaints the garment resembled "blackface."\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ap_19038406538240-997d3ceb731efed8c2455a3c3f03f09b1b3a41ab-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ap_19038406538240-997d3ceb731efed8c2455a3c3f03f09b1b3a41ab-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ap_19038406538240-997d3ceb731efed8c2455a3c3f03f09b1b3a41ab-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ap_19038406538240-997d3ceb731efed8c2455a3c3f03f09b1b3a41ab-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ap_19038406538240-997d3ceb731efed8c2455a3c3f03f09b1b3a41ab.jpg 1036w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot showing Gucci’s black turtleneck sweater before the luxury brand pulled it from its online and physical stores. Gucci apologized following complaints the garment resembled “blackface.” \u003ccite>(via NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But reaction to the sweater, which had retailed for $890, ranged from deep offense to incredulity that it had been deemed acceptable to begin with, even as some defended it.\u003c/p>\n\u003cp>“What’s going on here @Gucci this is blatant Disrespect #Blackface,” \u003ca href=\"https://twitter.com/ImKingJames803/status/1093343855049695232\">posted Twitter user\u003c/a> identified as King James shortly before Gucci tweeted its apology.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Washington Post\u003c/em> columnist Michelle Singletary pointed out the irony of the timing: February is Black History Month. “We have ONE month to celebrate the history of African Americans,” \u003ca href=\"https://twitter.com/SingletaryM/status/1093505976429412353\">she tweeted\u003c/a>. “We are a nation desperately in need of diversity training.”\u003c/p>\n\u003cp>The Italian fashion house said going forward it would work to increase diversity and work on “turning this incident into a powerful learning moment for the Gucci team and beyond.”\u003c/p>\n\u003cp>[contextly_sidebar id=”yDmGduc84P7X9MqETNGFdb2X9eDH9Iqi”]\u003c/p>\n\u003cp>The uproar coincides with another controversy threatening Virginia’s political leadership. Gov. Ralph Northam has been resisting calls to resign after a \u003ca href=\"https://www.npr.org/2019/02/01/690862933/virginia-governor-displayed-racist-image-in-1984-medical-school-yearbook\">racist photograph emerged\u003c/a> last week of a person in blackface next to another in a Ku Klux Klan robe and hood that appeared on his 1984 medical school yearbook page. Northam \u003ca href=\"https://www.governor.virginia.gov/newsroom/all-releases/2019/january/headline-838358-en.html\">initially apologized\u003c/a> for appearing in the picture, then \u003ca href=\"https://www.npr.org/2019/02/02/690961126/va-governor-says-he-wont-resign-over-racist-photo\">denied it was him\u003c/a>. In a news conference, he admitted to having darkened his face as part of a Michael Jackson costume in a separate incident around the same time.\u003c/p>\n\u003cp>Less than a week later, Virginia Attorney General Mark Herring, a fellow Democrat, \u003ca href=\"https://www.npr.org/2019/02/06/691989587/virginia-ag-says-he-dressed-as-a-rapper-and-wore-brown-makeup-at-a-1980-party\">admitted \u003c/a>to having put on “brown makeup” in 1980 in depiction of rapper Kurtis Blow. In a statement Herring wrote that “the shame of that moment has haunted me for decades.”\u003c/p>\n\u003cfigure id=\"attachment_13850362\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850362\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/GettyImages-922130998-800x533.jpg\" alt=\"Designer Alessandro Michele took over as creative director of Gucci in January 2015.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Designer Alessandro Michele took over as creative director of Gucci in January 2015. \u003ccite>(FILIPPO MONTEFORTE/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shame of face darkening in association with the caricature of black people is part of American history going back centuries.\u003c/p>\n\u003cp>“We first started seeing blackface in the early 1800s,” NPR’s Gene Demby \u003ca href=\"https://www.npr.org/2018/10/25/660676448/does-intent-ever-matter-when-it-comes-to-blackface\">reported in October\u003c/a>. “It becomes central to minstrel shows in which white people would dress up like black people by darkening their skin with polish and with cork. And of course these minstrel shows depicted black people as lazy, as animalistic.”\u003c/p>\n\u003cp>Demby reports that the caricature was part of the “dehumanization that allowed slavery to happen.” But despite the long history of blackface Demby reports “so many of us have so much historical illiteracy about its badness.”\u003c/p>\n\u003cp>[contextly_sidebar id=”9hCLDImVu8dcWYwnbNiP13Hcmxre1e1u”]\u003c/p>\n\u003cp>Some Twitter users defended the Gucci sweater, denying it resembled blackface. “It’s a tacky look, but it’s NOT blackface,” \u003ca href=\"https://twitter.com/JulieKNix/status/1093378460393893888\">tweeted Julie K. Nix\u003c/a>.\u003c/p>\n\u003cp>Others indicated the backlash was about people being overly sensitive. “The only offensive thing about this is the price ($890),” \u003ca href=\"https://twitter.com/PrisonPlanet/status/1093466507005345794\">posted Twitter user Paul Joseph Watson\u003c/a>. “I suppose balaclavas are all racist now too. BAN EVERYTHING.”\u003c/p>\n\u003cp>Gucci is far from the first apparel brand to retreat, admitting to missteps following accusations of racist products.\u003c/p>\n\u003cp>[contextly_sidebar id=”9pUXnK7ajq8uTqz3ygbOnHyAHdZqMooH”]\u003c/p>\n\u003cp>In January of 2018, H&M apologized for featuring a black child on its web site donning a sweatshirt featuring the words, “COOLEST MONKEY IN THE JUNGLE.”\u003c/p>\n\u003cp>And in December, \u003ca href=\"https://twitter.com/Prada/status/1073614897207017481\">Prada first denied \u003c/a>that a line of accessories had “any reference” to blackface, but following increased protests that the Pradamalia products resembled the Little Black Sambo character, the company \u003ca href=\"https://twitter.com/Prada/status/1074408250299375621/photo/1https://twitter.com/Prada/status/1074408250299375621/photo/1\">decided to yank them\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Step away from blackface,” \u003ca href=\"https://twitter.com/ninaturner/status/1093501417283874816\">tweeted \u003c/a>Nina Turner, a onetime Ohio state senator after the Gucci incident. “It was racist and dehumanizing in the late 19th century and it is still racist today &forever more.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gucci+Apologizes+And+Removes+Sweater+Following+%27Blackface%27+Backlash&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Luxury brand Gucci has removed a sweater from store shelves and from its web site following complaints about the garment’s resemblance to blackface.\u003c/p>\n\u003cp>The black sweater, featuring a roll-up collar that covers the lower face with a wide red lip outline around the mouth, was part of Gucci’s Fall Winter 2018 line.\u003c/p>\n\u003cp>“Gucci deeply apologizes for the offense caused by the wool balaclava jumper,” the company \u003ca href=\"https://twitter.com/gucci/status/1093345744080306176\">said \u003c/a>in a statement late Wednesday. “We consider diversity to be a fundamental value to be fully upheld, respected, and at the forefront of every decision we make.”\u003c/p>\n\u003cfigure id=\"attachment_13850359\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850359\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/ap_19038406538240-997d3ceb731efed8c2455a3c3f03f09b1b3a41ab-800x600.jpg\" alt=\"A screenshot showing Gucci's black turtleneck sweater before the luxury brand pulled it from its online and physical stores. Gucci apologized following complaints the garment resembled "blackface."\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ap_19038406538240-997d3ceb731efed8c2455a3c3f03f09b1b3a41ab-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ap_19038406538240-997d3ceb731efed8c2455a3c3f03f09b1b3a41ab-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ap_19038406538240-997d3ceb731efed8c2455a3c3f03f09b1b3a41ab-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ap_19038406538240-997d3ceb731efed8c2455a3c3f03f09b1b3a41ab-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ap_19038406538240-997d3ceb731efed8c2455a3c3f03f09b1b3a41ab.jpg 1036w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot showing Gucci’s black turtleneck sweater before the luxury brand pulled it from its online and physical stores. Gucci apologized following complaints the garment resembled “blackface.” \u003ccite>(via NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But reaction to the sweater, which had retailed for $890, ranged from deep offense to incredulity that it had been deemed acceptable to begin with, even as some defended it.\u003c/p>\n\u003cp>“What’s going on here @Gucci this is blatant Disrespect #Blackface,” \u003ca href=\"https://twitter.com/ImKingJames803/status/1093343855049695232\">posted Twitter user\u003c/a> identified as King James shortly before Gucci tweeted its apology.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Washington Post\u003c/em> columnist Michelle Singletary pointed out the irony of the timing: February is Black History Month. “We have ONE month to celebrate the history of African Americans,” \u003ca href=\"https://twitter.com/SingletaryM/status/1093505976429412353\">she tweeted\u003c/a>. “We are a nation desperately in need of diversity training.”\u003c/p>\n\u003cp>The Italian fashion house said going forward it would work to increase diversity and work on “turning this incident into a powerful learning moment for the Gucci team and beyond.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The uproar coincides with another controversy threatening Virginia’s political leadership. Gov. Ralph Northam has been resisting calls to resign after a \u003ca href=\"https://www.npr.org/2019/02/01/690862933/virginia-governor-displayed-racist-image-in-1984-medical-school-yearbook\">racist photograph emerged\u003c/a> last week of a person in blackface next to another in a Ku Klux Klan robe and hood that appeared on his 1984 medical school yearbook page. Northam \u003ca href=\"https://www.governor.virginia.gov/newsroom/all-releases/2019/january/headline-838358-en.html\">initially apologized\u003c/a> for appearing in the picture, then \u003ca href=\"https://www.npr.org/2019/02/02/690961126/va-governor-says-he-wont-resign-over-racist-photo\">denied it was him\u003c/a>. In a news conference, he admitted to having darkened his face as part of a Michael Jackson costume in a separate incident around the same time.\u003c/p>\n\u003cp>Less than a week later, Virginia Attorney General Mark Herring, a fellow Democrat, \u003ca href=\"https://www.npr.org/2019/02/06/691989587/virginia-ag-says-he-dressed-as-a-rapper-and-wore-brown-makeup-at-a-1980-party\">admitted \u003c/a>to having put on “brown makeup” in 1980 in depiction of rapper Kurtis Blow. In a statement Herring wrote that “the shame of that moment has haunted me for decades.”\u003c/p>\n\u003cfigure id=\"attachment_13850362\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850362\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/GettyImages-922130998-800x533.jpg\" alt=\"Designer Alessandro Michele took over as creative director of Gucci in January 2015.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Designer Alessandro Michele took over as creative director of Gucci in January 2015. \u003ccite>(FILIPPO MONTEFORTE/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shame of face darkening in association with the caricature of black people is part of American history going back centuries.\u003c/p>\n\u003cp>“We first started seeing blackface in the early 1800s,” NPR’s Gene Demby \u003ca href=\"https://www.npr.org/2018/10/25/660676448/does-intent-ever-matter-when-it-comes-to-blackface\">reported in October\u003c/a>. “It becomes central to minstrel shows in which white people would dress up like black people by darkening their skin with polish and with cork. And of course these minstrel shows depicted black people as lazy, as animalistic.”\u003c/p>\n\u003cp>Demby reports that the caricature was part of the “dehumanization that allowed slavery to happen.” But despite the long history of blackface Demby reports “so many of us have so much historical illiteracy about its badness.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Some Twitter users defended the Gucci sweater, denying it resembled blackface. “It’s a tacky look, but it’s NOT blackface,” \u003ca href=\"https://twitter.com/JulieKNix/status/1093378460393893888\">tweeted Julie K. Nix\u003c/a>.\u003c/p>\n\u003cp>Others indicated the backlash was about people being overly sensitive. “The only offensive thing about this is the price ($890),” \u003ca href=\"https://twitter.com/PrisonPlanet/status/1093466507005345794\">posted Twitter user Paul Joseph Watson\u003c/a>. “I suppose balaclavas are all racist now too. BAN EVERYTHING.”\u003c/p>\n\u003cp>Gucci is far from the first apparel brand to retreat, admitting to missteps following accusations of racist products.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In January of 2018, H&M apologized for featuring a black child on its web site donning a sweatshirt featuring the words, “COOLEST MONKEY IN THE JUNGLE.”\u003c/p>\n\u003cp>And in December, \u003ca href=\"https://twitter.com/Prada/status/1073614897207017481\">Prada first denied \u003c/a>that a line of accessories had “any reference” to blackface, but following increased protests that the Pradamalia products resembled the Little Black Sambo character, the company \u003ca href=\"https://twitter.com/Prada/status/1074408250299375621/photo/1https://twitter.com/Prada/status/1074408250299375621/photo/1\">decided to yank them\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Step away from blackface,” \u003ca href=\"https://twitter.com/ninaturner/status/1093501417283874816\">tweeted \u003c/a>Nina Turner, a onetime Ohio state senator after the Gucci incident. “It was racist and dehumanizing in the late 19th century and it is still racist today &forever more.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gucci+Apologizes+And+Removes+Sweater+Following+%27Blackface%27+Backlash&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As the first major exhibit to explore the intricacies of global Muslim fashion, \u003cem>Contemporary Muslim Fashions\u003c/em>, running through Jan. 6 at the de Young, finally features a more accurate depiction of Muslim women—one that leaves the stereotypical black burka behind.\u003c/p>\n\u003cp>The exhibit features rows of beautifully dressed mannequins—both bare-headed and veiled. The yards of brightly-colored fabric represent more than Muslim style; they symbolize the importance of diversity and access. Altogether, it’s a show that has already empowered Bay Area Muslims.\u003c/p>\n\u003cfigure id=\"attachment_13844545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-800x427.jpg\" alt=\"Faiza Bouguessa (b. France, 1983) for Faiza Bougessa (United Arab Emirates, est. 2014), Geometric Abaya Dress with Belt, 2014, polyester crepe, silk lining. \" width=\"800\" height=\"427\" class=\"size-medium wp-image-13844545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-800x427.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-768x410.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-1020x544.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-1200x640.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-1180x629.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-960x512.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-240x128.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-375x200.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-520x277.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faiza Bouguessa (b. France, 1983) for Faiza Bougessa (United Arab Emirates, est. 2014), Geometric Abaya Dress with Belt, 2014, polyester crepe, silk lining. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curators Jill D’Alessandro and Laura L. Camerlengo consulted with the Bay Area’s Muslim community (which numbers over 250,000) and Reina Lewis, a professor of cultural studies at the London College of Fashion, to dig past the misrepresentations of Islam in mainstream media. They perused social media—the main platform used by Muslim women who want to reclaim their narrative—to select the 80 ensembles and 40 photographs featured in the exhibit, including Muslim pioneers like Halima Aden, Ibtihaj Muhammad and Mona Haydar.\u003c/p>\n\u003cp>These trailblazers serve as important reminders that Muslim women, like all women, have varying interests—and “modest” clothing will not stop them. Halima Aden’s religiosity does not interrupt her modeling career. Ibtihaj Muhammad fences while wearing the Nike Pro hijab. And Mona Haydar proves it’s possible to be a Muslim rapper. All of these women may have their religion in common, but their methods of practicing and their passions vary.\u003c/p>\n\u003cfigure id=\"attachment_13844543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-800x573.jpg\" alt=\"(L–R): Layeur shirt, Peter Pilotto skirt, Monica Sordo earrings, December 2017, silk, silk-polyester blend, silk lining. Worn by Moya Palk. Peter Pilotto shirt and skirt, December 2017, silk-viscose blend, silk lining. Worn by Isabell Andreeva.\" width=\"800\" height=\"573\" class=\"size-medium wp-image-13844543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-1180x846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-960x688.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-520x373.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Layeur shirt, Peter Pilotto skirt, Monica Sordo earrings, December 2017, silk, silk-polyester blend, silk lining. Worn by Moya Palk. Peter Pilotto shirt and skirt, December 2017, silk-viscose blend, silk lining. Worn by Isabell Andreeva. \u003ccite>(Brian Daly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Muslim women can climb in Sarah Elenany’s “Hoody Dress” or swim in Aheda Zanetti’s burkinis without compromising their piety or personal definition of modesty. It is possible to participate in sports, entertainment, music and fashion while still being Muslim. In this, the de Young exhibit’s focus on varying interests explores recreations, rituals, and roots—and draws attention to the diversity within the 1.8 billion Muslims around the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a global religion, Islam draws influence from all parts of the world, and molds to each country’s culture. The Malaysian songkets used in Dian Pelangi’s designs differ from the lehengas found in Pakistan, or the African influenced designs by Naima Muhammad. But all of these garments, varying in modesty, are worn by Muslim women.\u003c/p>\n\u003cfigure id=\"attachment_13844544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-800x450.jpg\" alt=\"(L-R) Dian Pelangi in an ensemble from the Co-Identity Collection; Naima Muhammad in an ensemble from House of Coqueta; Dian Pelangi in an ensemble from the Co-Identity Collection. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13844544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Dian Pelangi in an ensemble from the Co-Identity Collection; Naima Muhammad in an ensemble from House of Coqueta; Dian Pelangi in an ensemble from the Co-Identity Collection. \u003ccite>(Sebastian Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each country has its own interpretation of the religion, a key point highlighted in the exhibit. Those who limit Islam to the narrow perspective shown on news channels often forget that a global religion cannot be homogenous by definition. Muslims in France will practice the religion differently than Muslims in Indonesia—solely as a consequence of geography. The cultural practices of each country fuse with the religion to create the full spectrum of Muslims we have today.\u003c/p>\n\u003cp>Many Muslims still suffer the consequences of Islamophobia—a global ignorance that keeps growing. Those who refuse to understand the diversity within Islam often put Muslims into a box that “others” them as a result. The de Young exhibit finally takes a step toward breaking those stereotypes. With displays showcasing Tehran’s street style fashions captured by blogger Hoda Khatebi and even a video of “mipsters”—Muslim hipsters—audiences can finally see how this “modest” religion is practiced worldwide. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Contemporary Muslim Fashions’ runs through Jan. 6, 2019, at the de Young Museum in San Francisco. \u003ca href=\"https://deyoung.famsf.org/exhibitions/contemporary-muslim-fashions\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the first major exhibit to explore the intricacies of global Muslim fashion, \u003cem>Contemporary Muslim Fashions\u003c/em>, running through Jan. 6 at the de Young, finally features a more accurate depiction of Muslim women—one that leaves the stereotypical black burka behind.\u003c/p>\n\u003cp>The exhibit features rows of beautifully dressed mannequins—both bare-headed and veiled. The yards of brightly-colored fabric represent more than Muslim style; they symbolize the importance of diversity and access. Altogether, it’s a show that has already empowered Bay Area Muslims.\u003c/p>\n\u003cfigure id=\"attachment_13844545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-800x427.jpg\" alt=\"Faiza Bouguessa (b. France, 1983) for Faiza Bougessa (United Arab Emirates, est. 2014), Geometric Abaya Dress with Belt, 2014, polyester crepe, silk lining. \" width=\"800\" height=\"427\" class=\"size-medium wp-image-13844545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-800x427.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-768x410.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-1020x544.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-1200x640.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-1180x629.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-960x512.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-240x128.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-375x200.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion_U2C1987-520x277.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faiza Bouguessa (b. France, 1983) for Faiza Bougessa (United Arab Emirates, est. 2014), Geometric Abaya Dress with Belt, 2014, polyester crepe, silk lining. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curators Jill D’Alessandro and Laura L. Camerlengo consulted with the Bay Area’s Muslim community (which numbers over 250,000) and Reina Lewis, a professor of cultural studies at the London College of Fashion, to dig past the misrepresentations of Islam in mainstream media. They perused social media—the main platform used by Muslim women who want to reclaim their narrative—to select the 80 ensembles and 40 photographs featured in the exhibit, including Muslim pioneers like Halima Aden, Ibtihaj Muhammad and Mona Haydar.\u003c/p>\n\u003cp>These trailblazers serve as important reminders that Muslim women, like all women, have varying interests—and “modest” clothing will not stop them. Halima Aden’s religiosity does not interrupt her modeling career. Ibtihaj Muhammad fences while wearing the Nike Pro hijab. And Mona Haydar proves it’s possible to be a Muslim rapper. All of these women may have their religion in common, but their methods of practicing and their passions vary.\u003c/p>\n\u003cfigure id=\"attachment_13844543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-800x573.jpg\" alt=\"(L–R): Layeur shirt, Peter Pilotto skirt, Monica Sordo earrings, December 2017, silk, silk-polyester blend, silk lining. Worn by Moya Palk. Peter Pilotto shirt and skirt, December 2017, silk-viscose blend, silk lining. Worn by Isabell Andreeva.\" width=\"800\" height=\"573\" class=\"size-medium wp-image-13844543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-1180x846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-960x688.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.03_05_REVISED-520x373.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Layeur shirt, Peter Pilotto skirt, Monica Sordo earrings, December 2017, silk, silk-polyester blend, silk lining. Worn by Moya Palk. Peter Pilotto shirt and skirt, December 2017, silk-viscose blend, silk lining. Worn by Isabell Andreeva. \u003ccite>(Brian Daly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Muslim women can climb in Sarah Elenany’s “Hoody Dress” or swim in Aheda Zanetti’s burkinis without compromising their piety or personal definition of modesty. It is possible to participate in sports, entertainment, music and fashion while still being Muslim. In this, the de Young exhibit’s focus on varying interests explores recreations, rituals, and roots—and draws attention to the diversity within the 1.8 billion Muslims around the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a global religion, Islam draws influence from all parts of the world, and molds to each country’s culture. The Malaysian songkets used in Dian Pelangi’s designs differ from the lehengas found in Pakistan, or the African influenced designs by Naima Muhammad. But all of these garments, varying in modesty, are worn by Muslim women.\u003c/p>\n\u003cfigure id=\"attachment_13844544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-800x450.jpg\" alt=\"(L-R) Dian Pelangi in an ensemble from the Co-Identity Collection; Naima Muhammad in an ensemble from House of Coqueta; Dian Pelangi in an ensemble from the Co-Identity Collection. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13844544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MuslimFashion.180710-01-275-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Dian Pelangi in an ensemble from the Co-Identity Collection; Naima Muhammad in an ensemble from House of Coqueta; Dian Pelangi in an ensemble from the Co-Identity Collection. \u003ccite>(Sebastian Kim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each country has its own interpretation of the religion, a key point highlighted in the exhibit. Those who limit Islam to the narrow perspective shown on news channels often forget that a global religion cannot be homogenous by definition. Muslims in France will practice the religion differently than Muslims in Indonesia—solely as a consequence of geography. The cultural practices of each country fuse with the religion to create the full spectrum of Muslims we have today.\u003c/p>\n\u003cp>Many Muslims still suffer the consequences of Islamophobia—a global ignorance that keeps growing. Those who refuse to understand the diversity within Islam often put Muslims into a box that “others” them as a result. The de Young exhibit finally takes a step toward breaking those stereotypes. With displays showcasing Tehran’s street style fashions captured by blogger Hoda Khatebi and even a video of “mipsters”—Muslim hipsters—audiences can finally see how this “modest” religion is practiced worldwide. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Contemporary Muslim Fashions’ runs through Jan. 6, 2019, at the de Young Museum in San Francisco. \u003ca href=\"https://deyoung.famsf.org/exhibitions/contemporary-muslim-fashions\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dresses Flutter on Drones in Saudi Fashion Show, But Critics Aren't Buying It",
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"content": "\u003cp>A fashion show in Jeddah, Saudi Arabia, that used drones to walk clothes down a runway has been ripped apart by Arab fashion elites and critics who compared the dresses to ghosts and dementors.\u003c/p>\n\u003cp>Ali Nabil Akbar tells \u003ca href=\"http://www.bbc.com/arabic/media-44387837\" target=\"_blank\" rel=\"noopener\">BBC Arabic \u003c/a>he thought showing the dresses via drone during the Saturday show at Hilton Hotel was “suitable for Ramadan.”\u003c/p>\n\u003cp>“The idea is that we want to add things that are simple yet beautiful,” Akbar tells the BBC. “Even the décor and set-up of the hall was organized beautifully, everything involved innovation.”\u003c/p>\n\u003cp>https://twitter.com/jinakhoushnaw/status/1004463889130622976\u003c/p>\n\u003cp>Footage shows a black floor-length dress fluttering across a hotel ballroom, its sleeves rustling under chandeliers and above the heads of men in long white robes and checked red and white headscarves. A green dress follows on a black hanger, while the drone’s loud buzz competes with the soft music playing in the background.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show in the western port city came weeks after the Saudi capital Riyadh hosted its first-ever Arab Fashion Week. NPR’s Jackie Northam and Fatma Tanis \u003ca href=\"https://www.npr.org/sections/parallels/2018/04/13/601972541/saudi-arabias-first-arab-fashion-week-kicks-off-beyond-fashionably-late\" target=\"_blank\" rel=\"noopener\">covered \u003c/a>the April event, which featured models wearing clothes by Jean Paul Gaultier and other designers from around the world:\u003c/p>\n\u003cblockquote>\n\u003cp>“The first gowns by designers like Lebanon’s Tony Ward and Bibisara from Kazakhstan were ultra-feminine — with long trains and an emphasis on sequins, feathers and beads…\u003c/p>\n\u003cp>“Saudi women regularly attend fashion weeks in New York, Paris and Milan. But the kingdom is still highly conservative and there are restrictions on what types of clothes can be exhibited at the Riyadh show — no cleavage, nothing above the knee and nothing too transparent. The audience was female only.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Jacob Abrian, the founder and CEO of the Dubai-based Arab Fashion Council that organized the Riyadh event, said at the time that Saudia Arabia was the most important market in the Arab region for fashion because of its young population with high purchasing power. He writes NPR in an email that Arab Fashion Week reflected “the serious steps taken to reform the country.”\u003c/p>\n\u003cp>However, Abrian pans the drone catwalk. He notes that Dolce & Gabbana recently used drones for the first time in history in their 2018 show of handbags and accessories.\u003c/p>\n\u003cp>“The latest show in Saudi Arabia has copied D&G innovative idea in a very bad quality which absolutely doesn’t reflect the vision and standards of the Arab Fashion Council,” Abrian writes NPR.\u003c/p>\n\u003cp>Twitter users piled on the scorn after London student Jina Khoushnaw \u003ca href=\"https://twitter.com/jinakhoushnaw/status/1004463889130622976?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fseamus.npr.org%2Ftemplates%2Fpreview%2FtwitterPreview.php%3FtweetId%3D1004463889130622976%26hideMedia%3Dtrue\" target=\"_blank\" rel=\"noopener\">tweeted \u003c/a>a video of the event she found on YouTube. Khoushnaw writes NPR that she posted it because she thought the show was “creative, different and extremely amusing too.”\u003c/p>\n\u003cp>https://twitter.com/TheSanPlanet/status/1004525536259997696\u003c/p>\n\u003cp>One user \u003ca href=\"https://twitter.com/TheSanPlanet/status/1004525536259997696\" target=\"_blank\" rel=\"noopener\">comments\u003c/a> that he didn’t know “if they’re living in 3018 or 1018.”\u003c/p>\n\u003cp>Another calls it a ghost show and a third writes a dress reminded her of “\u003ca href=\"https://twitter.com/itshvda/status/1004475988426743808\" target=\"_blank\" rel=\"noopener\">dementors from Harry Potter\u003c/a>.”\u003c/p>\n\u003cp>https://twitter.com/itshvda/status/1004475988426743808\u003c/p>\n\u003cp>The April fashion event was a mark of reform in Saudi Arabia. Recently, the kingdom has allowed cinemas to open and granted women permission to obtain drivers licenses. The change is an initiative of Crown Prince Mohammed bin Salman, who has billed his reign as a time of renewal and innovation. However, many restrictions on women remain and the nation is strictly segregated by gender.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Abrian of Arab Fashion Week has said he plans to repeat his high-end fashion show in Riyadh in fall. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dresses+Flutter+On+Drones+In+Saudi+Fashion+Show%2C+But+Critics+Aren%27t+Buying+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show in the western port city came weeks after the Saudi capital Riyadh hosted its first-ever Arab Fashion Week. NPR’s Jackie Northam and Fatma Tanis \u003ca href=\"https://www.npr.org/sections/parallels/2018/04/13/601972541/saudi-arabias-first-arab-fashion-week-kicks-off-beyond-fashionably-late\" target=\"_blank\" rel=\"noopener\">covered \u003c/a>the April event, which featured models wearing clothes by Jean Paul Gaultier and other designers from around the world:\u003c/p>\n\u003cblockquote>\n\u003cp>“The first gowns by designers like Lebanon’s Tony Ward and Bibisara from Kazakhstan were ultra-feminine — with long trains and an emphasis on sequins, feathers and beads…\u003c/p>\n\u003cp>“Saudi women regularly attend fashion weeks in New York, Paris and Milan. But the kingdom is still highly conservative and there are restrictions on what types of clothes can be exhibited at the Riyadh show — no cleavage, nothing above the knee and nothing too transparent. The audience was female only.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Jacob Abrian, the founder and CEO of the Dubai-based Arab Fashion Council that organized the Riyadh event, said at the time that Saudia Arabia was the most important market in the Arab region for fashion because of its young population with high purchasing power. He writes NPR in an email that Arab Fashion Week reflected “the serious steps taken to reform the country.”\u003c/p>\n\u003cp>However, Abrian pans the drone catwalk. He notes that Dolce & Gabbana recently used drones for the first time in history in their 2018 show of handbags and accessories.\u003c/p>\n\u003cp>“The latest show in Saudi Arabia has copied D&G innovative idea in a very bad quality which absolutely doesn’t reflect the vision and standards of the Arab Fashion Council,” Abrian writes NPR.\u003c/p>\n\u003cp>Twitter users piled on the scorn after London student Jina Khoushnaw \u003ca href=\"https://twitter.com/jinakhoushnaw/status/1004463889130622976?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fseamus.npr.org%2Ftemplates%2Fpreview%2FtwitterPreview.php%3FtweetId%3D1004463889130622976%26hideMedia%3Dtrue\" target=\"_blank\" rel=\"noopener\">tweeted \u003c/a>a video of the event she found on YouTube. Khoushnaw writes NPR that she posted it because she thought the show was “creative, different and extremely amusing too.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>We’re all familiar with K-pop by now, but Korean \u003ci>fashion\u003c/i> is on a similar path to world domination — and it’s on the runway, so to speak, at the Asian Art Museum in San Francisco with \u003ca href=\"http://www.asianart.org/exhibitions/couture-korea\" target=\"_blank\" rel=\"noopener\">\u003ci>Couture Korea\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>With more than 120 works, the exhibition is a paean to the exquisite craftsmanship, signature silhouettes and bold aesthetics of Korean clothing from the Joseon dynasty (1392–1910) on.\u003c/p>\n\u003cp>Contemporary designers who’ve been inspired by Korean tradition get a look-see; the high waistlines, flared sleeves and brightly colored patchworks of Karl Lagerfeld’s 2015/16 Cruise Collection for Chanel were influenced by Joseon dynasty fashion and art, such as \u003ci>bojagi\u003c/i> wrapping cloths. Also on view are pieces by pioneering Korean designer Jin Teok, lauded by \u003ci>Vogue\u003c/i>’s Suzy Menkes in a \u003ca href=\"http://www.vogue.co.uk/article/suzy-menkes-couture-korea-from-far-east-to-west-coast\" target=\"_blank\" rel=\"noopener\">must-read review\u003c/a> as a “fashion magician” who evokes the spirit of historical Korean dress with an embroidered top from a wedding robe layered over a washed denim skirt.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=do5aseYQHMU]\u003c/p>\n\u003cp>The exhibition also introduces two younger Seoul-based designers reinterpreting Korean fashion for the 21st century: Im Seonoc and Jung Misun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Couture Korea\u003c/i> is co-organized by the Asian Art Museum of San Francisco and Arumjigi Culture Keepers Foundation in Seoul, Korea. \u003ca href=\"http://www.asianart.org/exhibitions/couture-korea\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re all familiar with K-pop by now, but Korean \u003ci>fashion\u003c/i> is on a similar path to world domination — and it’s on the runway, so to speak, at the Asian Art Museum in San Francisco with \u003ca href=\"http://www.asianart.org/exhibitions/couture-korea\" target=\"_blank\" rel=\"noopener\">\u003ci>Couture Korea\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>With more than 120 works, the exhibition is a paean to the exquisite craftsmanship, signature silhouettes and bold aesthetics of Korean clothing from the Joseon dynasty (1392–1910) on.\u003c/p>\n\u003cp>Contemporary designers who’ve been inspired by Korean tradition get a look-see; the high waistlines, flared sleeves and brightly colored patchworks of Karl Lagerfeld’s 2015/16 Cruise Collection for Chanel were influenced by Joseon dynasty fashion and art, such as \u003ci>bojagi\u003c/i> wrapping cloths. Also on view are pieces by pioneering Korean designer Jin Teok, lauded by \u003ci>Vogue\u003c/i>’s Suzy Menkes in a \u003ca href=\"http://www.vogue.co.uk/article/suzy-menkes-couture-korea-from-far-east-to-west-coast\" target=\"_blank\" rel=\"noopener\">must-read review\u003c/a> as a “fashion magician” who evokes the spirit of historical Korean dress with an embroidered top from a wedding robe layered over a washed denim skirt.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/do5aseYQHMU'\n title='//www.youtube.com/embed/do5aseYQHMU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The exhibition also introduces two younger Seoul-based designers reinterpreting Korean fashion for the 21st century: Im Seonoc and Jung Misun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Couture Korea\u003c/i> is co-organized by the Asian Art Museum of San Francisco and Arumjigi Culture Keepers Foundation in Seoul, Korea. \u003ca href=\"http://www.asianart.org/exhibitions/couture-korea\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sophia Wang emerges from the side of the runway crawling on all fours. With her dark hair creepily combed over her face, her body is completely obscured by a draped, black garment. As she sluggishly traverses the runway, the packed crowd applauds.\u003c/p>\n\u003cp>At this fashion show — plotted by artist Julz Hale Mary — the lights are low, the music is bumping, and the ensembles are meant to visualize various states of mental health, translating feelings into fashion. Here, the outfit worn by Wang represents familiar feelings for many.\u003c/p>\n\u003cp>Julz Hale Mary, a Bay Area multimedia and performance artist who traffics in satire, hyperbole, and drag — and uses the pronoun “they” — named the night \u003cem>Trauma is a Party (of One)\u003c/em>. The concept: an attempt to de-stigmatize and de-pathologize mental health conditions by expressing them artistically as something you wear, then strutting them down a runway — mainly for fun.\u003c/p>\n\u003cp>“Femme people and queers tend to be the ones that are most enmeshed in pathologies of various kinds,” says Mary. “They were heavily stigmatized throughout history, and still to this day, just for being gender variant or not agreeing with the patriarchy — so this is a very deep rich history.\u003c/p>\n\u003cp>“‘Crazy’ is the present-day pathology or stigma, and I wanted to do a show that queered that and celebrated it — since that’s what being queer is all about… and basically I just wanted to look fabulous while doing it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mary has worked at a mental health nonprofit for the past six years, and has been personally engaging in somatic therapy for just as long. Meanwhile, they’ve become a practicing performance artist, both in queer clubs like Aunt Charlie’s and more “fine art spaces” such as the Yerba Buena Center for the Arts. With an assortment of wigs and a saccharine giggle, Mary typically puts live caricatures in comical narratives to bust open heavy subject matter and break down binaries of understanding. In this instance, that’s the dichotomy of “sick” and “sane.”\u003c/p>\n\u003cfigure id=\"attachment_13069644\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13069644\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-800x1120.jpg\" alt=' A look from \"Trauma is a Party (of One).\"' width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-1180x1652.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145.jpg 1463w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A look from “Trauma is a Party (of One).” \u003ccite>(Courtesy ROBERT DIVERS HERRICK. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somatic therapy, too, breaks down the binary between mind and body, treating them as one interconnected system. As Mary describes it from their own experience, patients are encouraged to understand their mental states in terms of the physical symptoms that they feel (rather than simply a diagnosis). “You’re like: ‘[Anxiety] feels really light and airy in my chest, but weighted down at the same time,’” Mary explains. “So the word kind of loses meaning.”\u003c/p>\n\u003cp>Inspired by that technique, Mary imagined what various mental health conditions would look like as ensembles. “I’ve experienced these things in some form or another,” says Mary, “so it was really just like, well, let me just do a little session with myself — dive right into my body and see what’s going on.” Seamstress Bobbi Rohs then actualized the sketches.\u003c/p>\n\u003cp>For models, Mary chose artists that they admire: Wang, Craig Calderwood, Persia, and Titania Kumeh. On the night of the show, though, they’re barely recognizable. Calderwood stalks the stage in a slinky, pink dress surrounded by a see-through plastic box constructed by artist Rik Lee Leipold. Another model emerges in a draped coat made up of a wrapped duvet, then drops it halfway through to reveal a flamboyant spandex outfit and manic dance moves. In another look, the model is covered head to toe (without eyeholes, even) in a long, fitted dress made of fabric covered in cut-outs of what look to be Mary’s anxiously clenched teeth.\u003c/p>\n\u003cfigure id=\"attachment_13077986\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13077986\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/3V4B2689-800x533.jpg\" alt='Titania Kumeh in \"Trauma is a Party (of One).\" ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Titania Kumeh in ‘Trauma is a Party (of One).’ \u003ccite>(Courtesy Shot in the City Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than announcing which outfits are inspired by which pathologies, Mary left those connections intentionally vague in order to eliminate the boxes in which people are placed by mental health professionals. “All of a sudden, it doesn’t look like, maybe, a bipolar person,” says Mary, “it just looks like someone is going through something.”\u003c/p>\n\u003cp>The fashion show was also framed as having been put on by a fictional mental health nonprofit. To that end, Amber Fargano and Vishinna Turner played “Cisters to the Cistem,” a kind of trans-exclusionary girl gang within the workforce that attempted to make all the models “jump through their hoops” — literally, hula hoops. The institutional jab also included a condescending executive director named “Dean Ile” and a villainous head clinician.\u003c/p>\n\u003cp>“There is such a dark reality of this supposedly feel-good nonprofit industrial complex and how it masks power imbalances through messages of equality,” says Mary. “So, I just really wanted to bring this darkness to the screen: The state doesn’t care about you as a client or as a counselor.”\u003c/p>\n\u003cfigure id=\"attachment_13069647\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13069647 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-800x1120.jpg\" alt='A look from \"Trauma is a Party (of One).\"' width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-1180x1652.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250.jpg 1463w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Titania Kumeh in ‘Trauma is a Party (of One).’ \u003ccite>(Courtesy ROBERT DIVERS HERRICK)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The almost absurd dissonance between the subject matter that Mary chooses and their bubbly hilarious approach is a constant within their body of work — and a strategy, they say, to help people acknowledge and process content that might otherwise just shut them down emotionally or simply push them away.\u003c/p>\n\u003cp>“I don’t think fun is bad, it just is another way of coping,” says Mary. “Kids do it all the time, and I was one of those kids, and I think it actually brought me a lot of joy and strength to tap into that playful childlike quality of role play.\u003c/p>\n\u003cp>“I’m not for everyone, but I’m for the people that want a site to process their anger and want to do it in a way that keeps them buoyant and that helps them spiral up rather than spiral down.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mary has worked at a mental health nonprofit for the past six years, and has been personally engaging in somatic therapy for just as long. Meanwhile, they’ve become a practicing performance artist, both in queer clubs like Aunt Charlie’s and more “fine art spaces” such as the Yerba Buena Center for the Arts. With an assortment of wigs and a saccharine giggle, Mary typically puts live caricatures in comical narratives to bust open heavy subject matter and break down binaries of understanding. In this instance, that’s the dichotomy of “sick” and “sane.”\u003c/p>\n\u003cfigure id=\"attachment_13069644\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13069644\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-800x1120.jpg\" alt=' A look from \"Trauma is a Party (of One).\"' width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-1180x1652.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_145.jpg 1463w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A look from “Trauma is a Party (of One).” \u003ccite>(Courtesy ROBERT DIVERS HERRICK. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somatic therapy, too, breaks down the binary between mind and body, treating them as one interconnected system. As Mary describes it from their own experience, patients are encouraged to understand their mental states in terms of the physical symptoms that they feel (rather than simply a diagnosis). “You’re like: ‘[Anxiety] feels really light and airy in my chest, but weighted down at the same time,’” Mary explains. “So the word kind of loses meaning.”\u003c/p>\n\u003cp>Inspired by that technique, Mary imagined what various mental health conditions would look like as ensembles. “I’ve experienced these things in some form or another,” says Mary, “so it was really just like, well, let me just do a little session with myself — dive right into my body and see what’s going on.” Seamstress Bobbi Rohs then actualized the sketches.\u003c/p>\n\u003cp>For models, Mary chose artists that they admire: Wang, Craig Calderwood, Persia, and Titania Kumeh. On the night of the show, though, they’re barely recognizable. Calderwood stalks the stage in a slinky, pink dress surrounded by a see-through plastic box constructed by artist Rik Lee Leipold. Another model emerges in a draped coat made up of a wrapped duvet, then drops it halfway through to reveal a flamboyant spandex outfit and manic dance moves. In another look, the model is covered head to toe (without eyeholes, even) in a long, fitted dress made of fabric covered in cut-outs of what look to be Mary’s anxiously clenched teeth.\u003c/p>\n\u003cfigure id=\"attachment_13077986\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13077986\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/3V4B2689-800x533.jpg\" alt='Titania Kumeh in \"Trauma is a Party (of One).\" ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/3V4B2689.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Titania Kumeh in ‘Trauma is a Party (of One).’ \u003ccite>(Courtesy Shot in the City Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than announcing which outfits are inspired by which pathologies, Mary left those connections intentionally vague in order to eliminate the boxes in which people are placed by mental health professionals. “All of a sudden, it doesn’t look like, maybe, a bipolar person,” says Mary, “it just looks like someone is going through something.”\u003c/p>\n\u003cp>The fashion show was also framed as having been put on by a fictional mental health nonprofit. To that end, Amber Fargano and Vishinna Turner played “Cisters to the Cistem,” a kind of trans-exclusionary girl gang within the workforce that attempted to make all the models “jump through their hoops” — literally, hula hoops. The institutional jab also included a condescending executive director named “Dean Ile” and a villainous head clinician.\u003c/p>\n\u003cp>“There is such a dark reality of this supposedly feel-good nonprofit industrial complex and how it masks power imbalances through messages of equality,” says Mary. “So, I just really wanted to bring this darkness to the screen: The state doesn’t care about you as a client or as a counselor.”\u003c/p>\n\u003cfigure id=\"attachment_13069647\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13069647 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-800x1120.jpg\" alt='A look from \"Trauma is a Party (of One).\"' width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-1180x1652.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/170415_TheLab_TraumaIsAPartyOfOne_RDH_250.jpg 1463w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Titania Kumeh in ‘Trauma is a Party (of One).’ \u003ccite>(Courtesy ROBERT DIVERS HERRICK)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The almost absurd dissonance between the subject matter that Mary chooses and their bubbly hilarious approach is a constant within their body of work — and a strategy, they say, to help people acknowledge and process content that might otherwise just shut them down emotionally or simply push them away.\u003c/p>\n\u003cp>“I don’t think fun is bad, it just is another way of coping,” says Mary. “Kids do it all the time, and I was one of those kids, and I think it actually brought me a lot of joy and strength to tap into that playful childlike quality of role play.\u003c/p>\n\u003cp>“I’m not for everyone, but I’m for the people that want a site to process their anger and want to do it in a way that keeps them buoyant and that helps them spiral up rather than spiral down.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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