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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood has been making the rest of the world feel terrible about flab since movies were invented. And despite the fact that Brad Pitt’s \u003ca href=\"https://www.highsnobiety.com/2017/07/31/brad-pitt-fight-club-workout/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fight Club\u003c/em> abs\u003c/a> are now the standard for actors, and Ryan Gosling looks so Photoshopped that it’s been \u003ca href=\"https://www.youtube.com/watch?v=BoeeyY5iPHg\" target=\"_blank\" rel=\"noopener noreferrer\">worked into his scripts\u003c/a> for comedy, the rest of the world remains largely in the dark as to how actors actually maintain their physique.\u003c/p>\n\u003cp>Enter John Boyega, the 27-year-old East Londoner most famous for playing Finn in \u003cem>Star Wars\u003c/em>. Boyega just shared a workout video to Instagram that is equal parts relatable and hilarious, and tells regular folks in no uncertain terms that working out “six days a week” is as awful as it sounds.\u003c/p>\n\u003cp>“Why can’t Hollywood accept me for who I am?” he comedically sobs at the beginning. He then demonstrates how to trick a trainer into leaving him alone because he’s “too tired for this shit,” openly fantasizes about being “fat” and having “a lovely wife who loves me for who I am,” and finally forces his unimpressed trainer to tell him he’s proud of him (when he’s clearly not).\u003c/p>\n\u003cp>It is comforting, in a world more accustomed to seeing 50-year-old Jennifer Lopez \u003ca href=\"https://www.youtube.com/watch?v=sfHGLS5Xv_Q\" target=\"_blank\" rel=\"noopener noreferrer\">effortlessly planking\u003c/a> halfway up a pole and Kardashians \u003ca href=\"https://www.youtube.com/watch?v=JGQeGaYACT0\" target=\"_blank\" rel=\"noopener noreferrer\">happily lunging\u003c/a> around their backyards, to know that some celebrities despise working out as much as the rest of us.\u003c/p>\n\u003cp>Enjoy every painful moment with Boyega in the clip below.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How to Date Like a Celebrity: Try to Act Like a Regular Person, Mostly Fail",
"headTitle": "How to Date Like a Celebrity: Try to Act Like a Regular Person, Mostly Fail | KQED",
"content": "\u003cp>In \u003ca href=\"https://www.gq.com/story/diplo-profile-february-2020\" target=\"_blank\" rel=\"noopener noreferrer\">this month’s \u003cem>GQ\u003c/em>\u003c/a>, Sia talked frankly about inviting her friend and collaborator Diplo into a friends-with-benefits agreement. “This year I wrote him a text,” the Aussie singer-songwriter explained, “and I said, ‘Hey, listen, you’re like one of five people that I’m sexually attracted to, and now that I’ve decided to be single for the rest of my life and I just adopted a son, I don’t have time for a relationship… If you’re interested in some no-strings sex, then hit me up.'”\u003c/p>\n\u003cp>In the same article, Diplo confessed that he’d been “guilty of meeting girls on” Instagram, but that “any girlfriend would end up breaking up with me because I’m so busy, and I’m just a bad boyfriend.” The DJ explained that, at this point in his life, true love to him can only be about his children. “My kids, they love me. And they can’t escape me… My job is to be good to them.” [aside postid='arts_13873341']\u003c/p>\n\u003cp>(No word on whether Diplo ever took Sia up on her generous offer, but she did mention, “Much of our relationship is just being spent trying not to have sex so that we wouldn’t ruin our business relationship.” So probably not.)\u003c/p>\n\u003cp>These revelations from two wildly attractive and successful people are a pretty solid indication that attempting to date while famous is not at all what it’s cracked up to be. In an age where meeting partners through dating apps is increasingly common—the number of \u003ca href=\"https://news.stanford.edu/2019/08/21/online-dating-popular-way-u-s-couples-meet/\" target=\"_blank\" rel=\"noopener noreferrer\">couples who met online\u003c/a> rose from 22 percent in 2009 to 39 percent in 2017—what options do celebrities actually have?\u003c/p>\n\u003cp>In 2018, \u003ca href=\"https://swipelife.tinder.com/post/10-celebrities-who-have-used-dating-apps\" target=\"_blank\" rel=\"noopener noreferrer\">Laverne Cox admitted\u003c/a> that she, like a regular mortal, used Tinder. “I feel like if you want to date, you have to be on the apps to be in the game,” she told \u003cem>Access\u003c/em>. Hilary Duff set a precedent in 2015, calling Tinder “\u003ca href=\"https://www.latimes.com/entertainment/gossip/la-et-mg-hilary-duff-tinder-dating-20150428-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">wildly addicting\u003c/a>.” \u003ca href=\"https://www.etonline.com/news/214990_exclusive_chelsea_handler_on_embracing_singledom_and_using_tinder_to_hook_up_i_m_on_all_those_apps\" target=\"_blank\" rel=\"noopener noreferrer\">Chelsea Handler agreed\u003c/a>, telling \u003cem>ET\u003c/em>, “I like to hook up, so when I go to London or New York or if I’m out of town and I want, I’ll do that … I’m on Tinder [and] all that stuff. I’m a regular person.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Trying to be a regular person while inherently recognizable doesn’t always work out, though. Last year, Sharon Stone demonstrated the pitfalls of celebrities trying to date like the rest of the world after she was kicked off Bumble. Users reported her account, thinking it was a fake profile, and Stone was forced to take to Twitter to get the decision reversed.\u003c/p>\n\u003cp>https://twitter.com/sharonstone/status/1211521841417736193?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>In 2016, \u003ca href=\"https://www.thetimes.co.uk/article/zac-efron-take-me-seriously-2qn22pzt7\" target=\"_blank\" rel=\"noopener noreferrer\">Zac Efron told\u003c/a> the U.K. \u003cem>Times\u003c/em> that even when he was on Tinder, “nobody swiped” him, presumably because “they thought [his] profile was fake.”\u003c/p>\n\u003cp>So how\u003cem> do\u003c/em> celebrities make love connections while the rest of us are swiping?\u003c/p>\n\u003cp>At 61, Madonna continues to use her tried and true method—searching within her own team. Her first child, Lourdes, was the product of a brief relationship with \u003ca href=\"https://www.imdb.com/name/nm0502458/\" target=\"_blank\" rel=\"noopener noreferrer\">her personal trainer\u003c/a> in the mid ’90s, and now she’s romancing a 25-year-old dancer from her touring crew named Ahlamalik Williams. (Madge is not the only one guilty of such a move—let’s not forget that Jennifer Lopez dated one of her \u003ca href=\"https://www.nickiswift.com/22969/really-went-wrong-j-lo-casper-smart/\" target=\"_blank\" rel=\"noopener noreferrer\">backing dancers\u003c/a>, Casper Smart, for five years.)\u003c/p>\n\u003cp>https://www.instagram.com/p/B6vM1CzB6fg/\u003c/p>\n\u003cp>More commonly, celebs seem to resort to social media as a dating tool. \u003cem>Modern Family\u003c/em>‘s \u003ca href=\"https://www.eonline.com/news/988948/the-true-story-of-how-twitter-helped-lead-sarah-hyland-to-her-forever-love\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Hyland met her beau\u003c/a>, Wells Adams, after publicly expressing interest in the Season 12 \u003cem>Bachelorette\u003c/em> contestant via Twitter. But the app of choice for most celebs appears to be Instagram. It was the catalyst for Mandy Moore meeting her musician husband Taylor Goldsmith; it’s where Ricky Martin found his husband, Jwan Yosef; and it’s where “\u003ca href=\"https://www.harpersbazaar.com/uk/fashion/fashion-news/a26959074/sophie-turner-may-cover/\" target=\"_blank\" rel=\"noopener noreferrer\">one fine day, out of the blue\u003c/a>,” Joe Jonas slid into Sophie Turner’s DMs. Having met his current boyfriend the same way, Antoni from \u003cem>Queer Eye \u003c/em>recently \u003ca href=\"https://www.youtube.com/watch?v=X1NioJKAHmE\" target=\"_blank\" rel=\"noopener noreferrer\">noted\u003c/a> that Instagram is, “like, the 2019 way.”\u003c/p>\n\u003cp>The risk of appearing thirsty in a public forum is real, however, as Lindsay Lohan found out last year. She was accused of hitting on newly-single Liam Hemsworth via Instagram after she left a prayer hands emoji on some surfing photos he posted. Lohan later attributed the comment to her work with a \u003ca href=\"https://www.foundationwow.org/\" target=\"_blank\" rel=\"noopener noreferrer\">surf therapy organization\u003c/a> in Australia, but her attacks on \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/lindsay-lohan-shades-cody-simpson-over-miley-cyrus-romance/\" target=\"_blank\" rel=\"noopener noreferrer\">Hemsworth’s ex-wife Miley Cyrus\u003c/a> during the same period suggested otherwise.\u003c/p>\n\u003cp>Then there was New York Islanders hockey star Anthony Beauvillier, who saw fit to \u003ca href=\"https://twitter.com/titobeauvi21/status/1209992434354139136\" target=\"_blank\" rel=\"noopener noreferrer\">tweet “Hi” at Anna Kendrick\u003c/a> in December. After he received no reply, Twitter hilariously stepped in and acted as wingman, publicly thanking Beauvillier for performing \u003ca href=\"https://www.boredpanda.com/hockey-player-anthony-beauvillier-tweets-at-anna-kendrick/?utm_source=google&utm_medium=organic&utm_campaign=organic\" target=\"_blank\" rel=\"noopener noreferrer\">increasingly ridiculous (and obviously false) feats\u003c/a>. These included performing open heart surgery, rescuing people from burning buildings and saving the world from errant asteroids. It may not have got him a date, but Kendrick at least got a laugh out of it.\u003c/p>\n\u003cp>https://twitter.com/AnnaKendrick47/status/1210616282179080192?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1210616282179080192&ref_url=https%3A%2F%2Fwww.cnn.com%2F2019%2F12%2F28%2Fus%2Fanna-kendrick-beauvillier-nhl-twitter-trnd%2Findex.html\u003c/p>\n\u003cp>A \u003ca href=\"https://www.pnas.org/content/116/36/17753.short?rss=1\" target=\"_blank\" rel=\"noopener noreferrer\">2019 study\u003c/a> by Stanford University sociology professor \u003ca href=\"https://profiles.stanford.edu/michael-rosenfeld\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Rosenfeld\u003c/a> showed that the days of meeting spouses through family have been \u003ca href=\"https://www.pnas.org/content/116/36/17753.short?rss=1\" target=\"_blank\" rel=\"noopener noreferrer\">in decline since 1940\u003c/a>, and meeting through friends has been on the way out since 1995. In other words, famous or not, we’re all basically on our own when it comes to making romance happen. So next time you’re complaining about your latest batch of matches, take a moment to think about the poor famous people still trying to get dates with regular Joes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They may be prettier and richer than the rest of us, but they’re impossibly conspicuous.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003ca href=\"https://www.gq.com/story/diplo-profile-february-2020\" target=\"_blank\" rel=\"noopener noreferrer\">this month’s \u003cem>GQ\u003c/em>\u003c/a>, Sia talked frankly about inviting her friend and collaborator Diplo into a friends-with-benefits agreement. “This year I wrote him a text,” the Aussie singer-songwriter explained, “and I said, ‘Hey, listen, you’re like one of five people that I’m sexually attracted to, and now that I’ve decided to be single for the rest of my life and I just adopted a son, I don’t have time for a relationship… If you’re interested in some no-strings sex, then hit me up.'”\u003c/p>\n\u003cp>In the same article, Diplo confessed that he’d been “guilty of meeting girls on” Instagram, but that “any girlfriend would end up breaking up with me because I’m so busy, and I’m just a bad boyfriend.” The DJ explained that, at this point in his life, true love to him can only be about his children. “My kids, they love me. And they can’t escape me… My job is to be good to them.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(No word on whether Diplo ever took Sia up on her generous offer, but she did mention, “Much of our relationship is just being spent trying not to have sex so that we wouldn’t ruin our business relationship.” So probably not.)\u003c/p>\n\u003cp>These revelations from two wildly attractive and successful people are a pretty solid indication that attempting to date while famous is not at all what it’s cracked up to be. In an age where meeting partners through dating apps is increasingly common—the number of \u003ca href=\"https://news.stanford.edu/2019/08/21/online-dating-popular-way-u-s-couples-meet/\" target=\"_blank\" rel=\"noopener noreferrer\">couples who met online\u003c/a> rose from 22 percent in 2009 to 39 percent in 2017—what options do celebrities actually have?\u003c/p>\n\u003cp>In 2018, \u003ca href=\"https://swipelife.tinder.com/post/10-celebrities-who-have-used-dating-apps\" target=\"_blank\" rel=\"noopener noreferrer\">Laverne Cox admitted\u003c/a> that she, like a regular mortal, used Tinder. “I feel like if you want to date, you have to be on the apps to be in the game,” she told \u003cem>Access\u003c/em>. Hilary Duff set a precedent in 2015, calling Tinder “\u003ca href=\"https://www.latimes.com/entertainment/gossip/la-et-mg-hilary-duff-tinder-dating-20150428-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">wildly addicting\u003c/a>.” \u003ca href=\"https://www.etonline.com/news/214990_exclusive_chelsea_handler_on_embracing_singledom_and_using_tinder_to_hook_up_i_m_on_all_those_apps\" target=\"_blank\" rel=\"noopener noreferrer\">Chelsea Handler agreed\u003c/a>, telling \u003cem>ET\u003c/em>, “I like to hook up, so when I go to London or New York or if I’m out of town and I want, I’ll do that … I’m on Tinder [and] all that stuff. I’m a regular person.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Trying to be a regular person while inherently recognizable doesn’t always work out, though. Last year, Sharon Stone demonstrated the pitfalls of celebrities trying to date like the rest of the world after she was kicked off Bumble. Users reported her account, thinking it was a fake profile, and Stone was forced to take to Twitter to get the decision reversed.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In 2016, \u003ca href=\"https://www.thetimes.co.uk/article/zac-efron-take-me-seriously-2qn22pzt7\" target=\"_blank\" rel=\"noopener noreferrer\">Zac Efron told\u003c/a> the U.K. \u003cem>Times\u003c/em> that even when he was on Tinder, “nobody swiped” him, presumably because “they thought [his] profile was fake.”\u003c/p>\n\u003cp>So how\u003cem> do\u003c/em> celebrities make love connections while the rest of us are swiping?\u003c/p>\n\u003cp>At 61, Madonna continues to use her tried and true method—searching within her own team. Her first child, Lourdes, was the product of a brief relationship with \u003ca href=\"https://www.imdb.com/name/nm0502458/\" target=\"_blank\" rel=\"noopener noreferrer\">her personal trainer\u003c/a> in the mid ’90s, and now she’s romancing a 25-year-old dancer from her touring crew named Ahlamalik Williams. (Madge is not the only one guilty of such a move—let’s not forget that Jennifer Lopez dated one of her \u003ca href=\"https://www.nickiswift.com/22969/really-went-wrong-j-lo-casper-smart/\" target=\"_blank\" rel=\"noopener noreferrer\">backing dancers\u003c/a>, Casper Smart, for five years.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More commonly, celebs seem to resort to social media as a dating tool. \u003cem>Modern Family\u003c/em>‘s \u003ca href=\"https://www.eonline.com/news/988948/the-true-story-of-how-twitter-helped-lead-sarah-hyland-to-her-forever-love\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Hyland met her beau\u003c/a>, Wells Adams, after publicly expressing interest in the Season 12 \u003cem>Bachelorette\u003c/em> contestant via Twitter. But the app of choice for most celebs appears to be Instagram. It was the catalyst for Mandy Moore meeting her musician husband Taylor Goldsmith; it’s where Ricky Martin found his husband, Jwan Yosef; and it’s where “\u003ca href=\"https://www.harpersbazaar.com/uk/fashion/fashion-news/a26959074/sophie-turner-may-cover/\" target=\"_blank\" rel=\"noopener noreferrer\">one fine day, out of the blue\u003c/a>,” Joe Jonas slid into Sophie Turner’s DMs. Having met his current boyfriend the same way, Antoni from \u003cem>Queer Eye \u003c/em>recently \u003ca href=\"https://www.youtube.com/watch?v=X1NioJKAHmE\" target=\"_blank\" rel=\"noopener noreferrer\">noted\u003c/a> that Instagram is, “like, the 2019 way.”\u003c/p>\n\u003cp>The risk of appearing thirsty in a public forum is real, however, as Lindsay Lohan found out last year. She was accused of hitting on newly-single Liam Hemsworth via Instagram after she left a prayer hands emoji on some surfing photos he posted. Lohan later attributed the comment to her work with a \u003ca href=\"https://www.foundationwow.org/\" target=\"_blank\" rel=\"noopener noreferrer\">surf therapy organization\u003c/a> in Australia, but her attacks on \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/lindsay-lohan-shades-cody-simpson-over-miley-cyrus-romance/\" target=\"_blank\" rel=\"noopener noreferrer\">Hemsworth’s ex-wife Miley Cyrus\u003c/a> during the same period suggested otherwise.\u003c/p>\n\u003cp>Then there was New York Islanders hockey star Anthony Beauvillier, who saw fit to \u003ca href=\"https://twitter.com/titobeauvi21/status/1209992434354139136\" target=\"_blank\" rel=\"noopener noreferrer\">tweet “Hi” at Anna Kendrick\u003c/a> in December. After he received no reply, Twitter hilariously stepped in and acted as wingman, publicly thanking Beauvillier for performing \u003ca href=\"https://www.boredpanda.com/hockey-player-anthony-beauvillier-tweets-at-anna-kendrick/?utm_source=google&utm_medium=organic&utm_campaign=organic\" target=\"_blank\" rel=\"noopener noreferrer\">increasingly ridiculous (and obviously false) feats\u003c/a>. These included performing open heart surgery, rescuing people from burning buildings and saving the world from errant asteroids. It may not have got him a date, but Kendrick at least got a laugh out of it.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Dog behaviorists and trainers have spent years deciphering the language of dogs. From the meaning behind butts in the air (play time!) to them lying on the ground belly-up (submission), every good pup parent learns the basics to better understand their pooches.\u003c/p>\n\u003cp>Amazingly, a 26-year-old speech-language pathologist named Christina Hunger has gone several steps further by training her dog Stella to communicate, using a specially-made soundboard. Hunger got the idea from teaching toddlers to talk using outside devices, and says that Stella now communicates much like a 2-year-old human.\u003c/p>\n\u003cp>Here’s Stella, concerned about activity outside their house, telling Hunger to go and check things out:\u003c/p>\n\u003cp>https://www.instagram.com/p/B4VfYtFhJLV/\u003c/p>\n\u003cp>Stella, now 18 months old, has been in training since she was an eight-week-old puppy. Since then, the Catahoula-Blue Heeler mix has acquired the ability to communicate about what she wants, what she just did, and how she is feeling. Hunger \u003ca href=\"https://people.com/pets/dog-learning-to-talk-by-using-a-custom-soundboard-to-speak-im-in-constant-amazement/\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>People\u003c/em>\u003c/a> that she’s “in constant amazement and shock” over how much Stella has learned, and how quickly the dog is figuring out how to construct phrases.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.hungerforwords.com/post/a-day-in-the-life-of-stella\" target=\"_blank\" rel=\"noopener noreferrer\">July blog post\u003c/a>, Hunger explained: “Stella is predictable with her language in the sense that she uses words relevant to what’s happening or what just happened. When we came back from the dog park, she said ‘park.’ She didn’t say ‘beach’ or ‘walk.’ Her language is unpredictable at the same time because she is constantly generating novel word combinations, using language to communicate in different ways, and surpassing communication limitations I once thought she might have.”\u003c/p>\n\u003cp>There are pros and cons to all of this, of course. On the one hand, Stella can tell Hunger that she loves her, and also when she is happy.\u003c/p>\n\u003cp>https://www.instagram.com/p/B0blt67hwIW/\u003c/p>\n\u003cp>And she can let Hunger know when things aren’t quite right:\u003c/p>\n\u003cp>https://www.instagram.com/p/B1eN6AnnH2E/\u003c/p>\n\u003cp>On the other hand, she can now make frequent, impossible-to-say-no-to requests for play, time outside, walks and visits to the beach.\u003c/p>\n\u003cp>https://www.instagram.com/p/B0bl-0zh78t/\u003c/p>\n\u003cp>How could anyone say no to this?\u003c/p>\n\u003cp>https://www.instagram.com/p/B4QAxF1ht3K/\u003c/p>\n\u003cp>Hunger is now assisting her parents in teaching their Boxer-Border Collie mix, Maisie, to communicate using the same methods as Stella.\u003c/p>\n\u003cp>https://www.instagram.com/p/B0oojDQBzss/\u003c/p>\n\u003cp>Given the lengths that Americans go to for their dogs every single day, Hunger and Stella’s soundboard might well be the next frontier of dog training. Not to mention a major boost for dog-human relations. That is, if we can handle all the scritches on demand…\u003c/p>\n\u003cp>https://www.instagram.com/p/B2O-RRunw8N/\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cp>Each year, October brings pumpkins, witches and candy. But for artists, it also brings the annual tradition of \u003ca href=\"https://inktober.com/\">Inktober\u003c/a>. Illustrator and writer \u003ca href=\"https://www.mrjakeparker.com/\">Jake Parker\u003c/a> created the drawing challenge 10 years ago as a way to strengthen his ink-drawing skills.\u003c/p>\n\u003cp>In 2009, he announced on his blog that he was going to create and post an ink drawing every day in October, and he invited other artists to join him. Now, millions of drawings are posted to \u003ca href=\"https://www.instagram.com/explore/tags/inktober/\">#inktober\u003c/a> on Instagram.\u003c/p>\n\u003cp>“It’s a lot to absorb and follow,” Parker says.\u003c/p>\n\u003cp>A few years ago, \u003ca href=\"https://inktober.com/rules\">Parker introduced daily prompts\u003c/a>: a daily word that could serve as inspiration for a drawing during Inktober. Some artists work on a consistent theme or project throughout the month; others prefer a less rigid approach.\u003c/p>\n\u003cp>“Every year, it’s a chance to spend that time focused on a project that can be finished in a month or get a good chunk of it done in a month,” Parker says. Some Inktober projects have turned into published books.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The goal is to post a new drawing each day, but it can be demanding to meet that pace.\u003c/p>\n\u003cp>“I’m all about building habits and even if I can find only 15 minutes to draw, I’ll use this time the best I can,” \u003ca href=\"https://dariagolab.com/\">artist and illustrator Daria Golab\u003c/a> writes in an email. “At the same time if I miss a few days, I don’t worry about it and will try to catch up but without putting too much pressure on it.”\u003c/p>\n\u003cp>Any artist can join the challenge, using any creative process the person wishes. Here is a selection of artists creating work for Inktober and their experiences, shared via email:\u003c/p>\n\u003cp>https://www.instagram.com/p/B3FOJvGD8R5/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>“I usually draw something simple every day,” \u003ca href=\"https://www.nicole-xu.com/\">illustrator Nicole Xu\u003c/a> writes. ” It’s not a strict rule though. This Inktober, I was swamped with freelance work, so I had to take a break from inking so it didn’t feel like a chore.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B3kHYUQJtky/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>“I think of everyday items or topics that interest me and begin brainstorming how I can turn those subjects into art in the most eccentric way possible, while still keeping animals and nature as the main focus,” \u003ca href=\"http://www.dominiqueramsey.com/\">illustrator Dominique Ramsey\u003c/a> writes.\u003c/p>\n\u003cp>https://www.instagram.com/p/B3M4330FiTQ/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>“I like to create pieces as often as I can,” \u003ca href=\"https://www.instagram.com/dustybrockway/\">artist Michael Lindberg\u003c/a> writes. “Sometimes that means several drawings a week or just one. I enjoy the process of generating ideas and getting them out of my head.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B34Kk9jHOMg/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>“When it comes to Inktober or any other challenge, I try to post every single piece,” Golab writes. “Even if I don’t really like it, I try not to subscribe to the idea of only showing good results. Good artists make bad works too!”\u003c/p>\n\u003cp>https://www.instagram.com/p/B3l6UosA6rX/?utm_source=ig_embed&utm_campaign=loading\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have been creating pieces almost everyday this month,” \u003ca href=\"https://www.instagram.com/the.arti.tect/\">artist and architect Anu Sam\u003c/a> writes. “However it takes me much longer to perfect an artwork otherwise, seeking for just the right mood. Since my method of execution involves stippling I tend to work for hours on a single inked drawing for the day.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Inktober+Challenge+Pushes+Artists+To+Flex+Their+Creative+Muscles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I usually draw something simple every day,” \u003ca href=\"https://www.nicole-xu.com/\">illustrator Nicole Xu\u003c/a> writes. ” It’s not a strict rule though. This Inktober, I was swamped with freelance work, so I had to take a break from inking so it didn’t feel like a chore.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I think of everyday items or topics that interest me and begin brainstorming how I can turn those subjects into art in the most eccentric way possible, while still keeping animals and nature as the main focus,” \u003ca href=\"http://www.dominiqueramsey.com/\">illustrator Dominique Ramsey\u003c/a> writes.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I like to create pieces as often as I can,” \u003ca href=\"https://www.instagram.com/dustybrockway/\">artist Michael Lindberg\u003c/a> writes. “Sometimes that means several drawings a week or just one. I enjoy the process of generating ideas and getting them out of my head.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“When it comes to Inktober or any other challenge, I try to post every single piece,” Golab writes. “Even if I don’t really like it, I try not to subscribe to the idea of only showing good results. Good artists make bad works too!”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\n\u003cp>“I have been creating pieces almost everyday this month,” \u003ca href=\"https://www.instagram.com/the.arti.tect/\">artist and architect Anu Sam\u003c/a> writes. “However it takes me much longer to perfect an artwork otherwise, seeking for just the right mood. Since my method of execution involves stippling I tend to work for hours on a single inked drawing for the day.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Inktober+Challenge+Pushes+Artists+To+Flex+Their+Creative+Muscles&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A few weeks ago, a young woman named Natalie Beach wrote an exposé for \u003ca href=\"https://www.thecut.com/2019/09/the-story-of-caroline-calloway-and-her-ghostwriter-natalie.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cut\u003c/em>\u003c/a> about her friendship and working life with controversial influencer, \u003ca href=\"https://www.instagram.com/carolinecalloway/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Caroline Calloway\u003c/a>. It caused a stir on social media, some extremely \u003ca href=\"https://www.instagram.com/p/B2YEL-0BzyP/\" target=\"_blank\" rel=\"noopener noreferrer\">erratic behavior\u003c/a> from Calloway on her Instagram, and a story in \u003ca href=\"https://www.theatlantic.com/ideas/archive/2019/09/i-get-caroline-calloway/598918/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Atlantic\u003c/em>\u003c/a> that sought to undo any damage.\u003c/p>\n\u003cp>In the \u003cem>Cut\u003c/em> story, Beach gripes about trying to keep up with her richer, better dressed friend Calloway, as the two travel Europe producing Instagram content for which Beach is compensated and Calloway takes all the credit. The “big” reveals of the piece are that: Calloway didn’t write a book that Beach would have financially benefitted from (it’s worth noting that no contracts between the two were ever signed), and that Calloway left Beach locked out of a hotel room in Amsterdam one night because Beach didn’t wind up hooking up with a bartender after all. Sure, Calloway sounds annoying. But, frankly, so does Beach.\u003c/p>\n\u003cp>Throughout the article, Beach tries to depict herself as a hapless victim who was too enthralled by a charismatic woman, too convinced of the validity of social media content creation. She talks repeatedly of being “broke,” even as she describes traveling extensively, eating out frequently, and living in New York City. At one point, she talks about being paid $200 a week to prep Calloway’s Airbnb for new guests, as if it’s slave labor.\u003c/p>\n\u003cp>In critiquing the life of the famous influencer she used to work with though, Natalie Beach overnight became a writer-to-watch. Over the weekend, during an appearance on the \u003ca href=\"https://redscarepodcast.libsyn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Red Scare\u003c/em>\u003c/a> podcast, Calloway claimed Beach now has a \u003ca href=\"https://www.dailydot.com/upstream/caroline-calloway-natalie-beach-movie-deal/\" target=\"_blank\" rel=\"noopener noreferrer\">$1 million movie deal\u003c/a> with Ryan Murphy to tell the story of their friendship.\u003c/p>\n\u003cp>It isn’t working with a social media influencer that has put Beach on the map, then—it’s complaining about it after the fact. And it is becoming increasingly clear that what just happened for Beach isn’t a fluke, it’s a full-blown trend. What’s more, some of the people critiquing online influencers are now also directly benefiting from the same system that supports them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Take, for example, Australian YouTuber \u003ca href=\"https://www.youtube.com/channel/UCrroaGjAjAjqXEjqdsjLMIw\" target=\"_blank\" rel=\"noopener noreferrer\">Currently Hannah\u003c/a>, who recently donned an American accent, threw on several swimsuits, then put together a 3-minute clip highlighting the artifice and contrived nature of many travel vlogs. If you don’t know who Currently Hannah is, it all seems fairly hilarious.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=81&v=wnI8TA8XCt4\u003c/p>\n\u003cp>The problem is, the videos Hannah regularly produces for her 149,000 subscribers are almost identical to the parody she made. (Which is probably why she felt the need to follow it with a 3-minute explanation about how much she’s \u003cem>not\u003c/em> making fun of other travel vloggers.)\u003c/p>\n\u003cp>Below is one of Hannah’s regular clips. You’ll notice it features a multitude of things she made fun of in the parody, including: “uplifting cinematic music”; “the right dramatic pauses”; “places like untouched waterfalls, pristine rice fields, mountains I didn’t climb, and blue-ass water”; “swimming in the clearest water you’ve ever seen”; “a surprising amount of sexually seductive movement”; “not [showing] you the stress of making our flights on time”; “white sand” and “slow motion palm trees.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=77BckjW3cRQ\u003c/p>\n\u003cp>When Hannah says in the parody that she’s “here to show you how amazing my life is, but not how you can do it yourself,” she is obliviously describing her own work. In a rational world, a critique of misleading narratives sold by social media influencers should probably not be made by one of those influencers. It doesn’t matter—the parody clip is Hannah’s most-watched video in about a year.\u003c/p>\n\u003cp>Hannah is not the only YouTuber actively trying to portray themselves as less pretentious than their peers. Take, for example, \u003ca href=\"https://www.youtube.com/user/AwakenWithJP/videos\" target=\"_blank\" rel=\"noopener noreferrer\">AwakenWithJP\u003c/a>. JP Sears’ online persona is a parody of holistically-inclined social media influencers, but the lines between his real-life personality and online persona are so blurred in so many videos (like the one below where he makes fun of ‘How To’ videos about getting perfect abs, while also sporting perfect abs), Sears is forced to admit in the “About” section of his channel: “Satirical and serious are two parts that make the whole of me and what I do.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T66UyxiPr-I\u003c/p>\n\u003cp>Regardless of that strange juxtaposition, making fun of other influencers who hold similar values has earned Sears enough followers to be classed as one.\u003c/p>\n\u003cp>Though less popular (27,000 subscribers vs. Sears’ 808,000), Alysse Paris has also garnered millions of views on YouTube by making fun of \u003ca href=\"https://www.youtube.com/watch?v=bT44_1mZMQI&t=116s\" target=\"_blank\" rel=\"noopener noreferrer\">exercise videos\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=sp1CZcJTtd4\" target=\"_blank\" rel=\"noopener noreferrer\">beauty vloggers\u003c/a>, Instagrammers and \u003ca href=\"https://www.youtube.com/watch?v=T8UwhCPj8cU\" target=\"_blank\" rel=\"noopener noreferrer\">health bloggers\u003c/a>. The fact that Paris is as conventionally physically attractive as the influencers she’s making fun of can’t help but factor into her appeal, but she presents her often flawless appearance as something that is merely part of the joke.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xISv41LaheA&t=27s\u003c/p>\n\u003cp>All of this, of course, is beyond meta. It’s the proverbial snake eating its own tail. Even more remarkably, it was all predicted by \u003cem>Ingrid Goes West\u003c/em>; arguably the most astute movie about social media culture of our times. In the film, Ingrid (Aubrey Plaza), a lonely, disaffected woman, figures out how to befriend Taylor (Elizabeth Olsen), a popular social media influencer, in an attempt to transform her own life into something like the one she sees on Taylor’s Instagram.\u003c/p>\n\u003cp>At the climax of the movie, what the viewer thinks will be the end of Ingrid—her exposure as a liar, her excommunication from Taylor’s friend group, her attempt to commit suicide on camera—ends up being the thing that propels her to her own stardom. It is when she comes clean, and talks about social media being an elaborate fabrication, that she finally acquires her own influencer status. That very thing is now being mirrored in reality.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xP4vD1tWbPU\u003c/p>\n\u003cp>The plot of the 2017 movie is now so of the moment that Natalie Beach even referenced it in her \u003cem>Cut\u003c/em> article, claiming that people ask her if Caroline Calloway is “both characters from \u003cem>Ingrid Goes West\u003c/em>.” A closer analogy (at least if you take the movie’s kidnapping and violence out of the mix) would very much leave Beach in the Ingrid role. It’s unlikely she realizes that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While the heady mix of trying to be simultaneously perfect and relatable is one that has always made influencers and vloggers ripe for mockery, increasingly, the people pointing the finger look more and more like the people they’re making fun of. In the vast sea of social media influencers and YouTube personalities, it makes sense that individuals will do just about anything to stand out—including ignoring their own hypocrisy.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few weeks ago, a young woman named Natalie Beach wrote an exposé for \u003ca href=\"https://www.thecut.com/2019/09/the-story-of-caroline-calloway-and-her-ghostwriter-natalie.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Cut\u003c/em>\u003c/a> about her friendship and working life with controversial influencer, \u003ca href=\"https://www.instagram.com/carolinecalloway/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Caroline Calloway\u003c/a>. It caused a stir on social media, some extremely \u003ca href=\"https://www.instagram.com/p/B2YEL-0BzyP/\" target=\"_blank\" rel=\"noopener noreferrer\">erratic behavior\u003c/a> from Calloway on her Instagram, and a story in \u003ca href=\"https://www.theatlantic.com/ideas/archive/2019/09/i-get-caroline-calloway/598918/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Atlantic\u003c/em>\u003c/a> that sought to undo any damage.\u003c/p>\n\u003cp>In the \u003cem>Cut\u003c/em> story, Beach gripes about trying to keep up with her richer, better dressed friend Calloway, as the two travel Europe producing Instagram content for which Beach is compensated and Calloway takes all the credit. The “big” reveals of the piece are that: Calloway didn’t write a book that Beach would have financially benefitted from (it’s worth noting that no contracts between the two were ever signed), and that Calloway left Beach locked out of a hotel room in Amsterdam one night because Beach didn’t wind up hooking up with a bartender after all. Sure, Calloway sounds annoying. But, frankly, so does Beach.\u003c/p>\n\u003cp>Throughout the article, Beach tries to depict herself as a hapless victim who was too enthralled by a charismatic woman, too convinced of the validity of social media content creation. She talks repeatedly of being “broke,” even as she describes traveling extensively, eating out frequently, and living in New York City. At one point, she talks about being paid $200 a week to prep Calloway’s Airbnb for new guests, as if it’s slave labor.\u003c/p>\n\u003cp>In critiquing the life of the famous influencer she used to work with though, Natalie Beach overnight became a writer-to-watch. Over the weekend, during an appearance on the \u003ca href=\"https://redscarepodcast.libsyn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Red Scare\u003c/em>\u003c/a> podcast, Calloway claimed Beach now has a \u003ca href=\"https://www.dailydot.com/upstream/caroline-calloway-natalie-beach-movie-deal/\" target=\"_blank\" rel=\"noopener noreferrer\">$1 million movie deal\u003c/a> with Ryan Murphy to tell the story of their friendship.\u003c/p>\n\u003cp>It isn’t working with a social media influencer that has put Beach on the map, then—it’s complaining about it after the fact. And it is becoming increasingly clear that what just happened for Beach isn’t a fluke, it’s a full-blown trend. What’s more, some of the people critiquing online influencers are now also directly benefiting from the same system that supports them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Take, for example, Australian YouTuber \u003ca href=\"https://www.youtube.com/channel/UCrroaGjAjAjqXEjqdsjLMIw\" target=\"_blank\" rel=\"noopener noreferrer\">Currently Hannah\u003c/a>, who recently donned an American accent, threw on several swimsuits, then put together a 3-minute clip highlighting the artifice and contrived nature of many travel vlogs. If you don’t know who Currently Hannah is, it all seems fairly hilarious.\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/wnI8TA8XCt4'\n title='//www.youtube.com/embed/wnI8TA8XCt4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The problem is, the videos Hannah regularly produces for her 149,000 subscribers are almost identical to the parody she made. (Which is probably why she felt the need to follow it with a 3-minute explanation about how much she’s \u003cem>not\u003c/em> making fun of other travel vloggers.)\u003c/p>\n\u003cp>Below is one of Hannah’s regular clips. You’ll notice it features a multitude of things she made fun of in the parody, including: “uplifting cinematic music”; “the right dramatic pauses”; “places like untouched waterfalls, pristine rice fields, mountains I didn’t climb, and blue-ass water”; “swimming in the clearest water you’ve ever seen”; “a surprising amount of sexually seductive movement”; “not [showing] you the stress of making our flights on time”; “white sand” and “slow motion palm trees.”\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/77BckjW3cRQ'\n title='//www.youtube.com/embed/77BckjW3cRQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When Hannah says in the parody that she’s “here to show you how amazing my life is, but not how you can do it yourself,” she is obliviously describing her own work. In a rational world, a critique of misleading narratives sold by social media influencers should probably not be made by one of those influencers. It doesn’t matter—the parody clip is Hannah’s most-watched video in about a year.\u003c/p>\n\u003cp>Hannah is not the only YouTuber actively trying to portray themselves as less pretentious than their peers. Take, for example, \u003ca href=\"https://www.youtube.com/user/AwakenWithJP/videos\" target=\"_blank\" rel=\"noopener noreferrer\">AwakenWithJP\u003c/a>. JP Sears’ online persona is a parody of holistically-inclined social media influencers, but the lines between his real-life personality and online persona are so blurred in so many videos (like the one below where he makes fun of ‘How To’ videos about getting perfect abs, while also sporting perfect abs), Sears is forced to admit in the “About” section of his channel: “Satirical and serious are two parts that make the whole of me and what I do.”\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/T66UyxiPr-I'\n title='//www.youtube.com/embed/T66UyxiPr-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Regardless of that strange juxtaposition, making fun of other influencers who hold similar values has earned Sears enough followers to be classed as one.\u003c/p>\n\u003cp>Though less popular (27,000 subscribers vs. Sears’ 808,000), Alysse Paris has also garnered millions of views on YouTube by making fun of \u003ca href=\"https://www.youtube.com/watch?v=bT44_1mZMQI&t=116s\" target=\"_blank\" rel=\"noopener noreferrer\">exercise videos\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=sp1CZcJTtd4\" target=\"_blank\" rel=\"noopener noreferrer\">beauty vloggers\u003c/a>, Instagrammers and \u003ca href=\"https://www.youtube.com/watch?v=T8UwhCPj8cU\" target=\"_blank\" rel=\"noopener noreferrer\">health bloggers\u003c/a>. The fact that Paris is as conventionally physically attractive as the influencers she’s making fun of can’t help but factor into her appeal, but she presents her often flawless appearance as something that is merely part of the joke.\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/xISv41LaheA'\n title='//www.youtube.com/embed/xISv41LaheA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All of this, of course, is beyond meta. It’s the proverbial snake eating its own tail. Even more remarkably, it was all predicted by \u003cem>Ingrid Goes West\u003c/em>; arguably the most astute movie about social media culture of our times. In the film, Ingrid (Aubrey Plaza), a lonely, disaffected woman, figures out how to befriend Taylor (Elizabeth Olsen), a popular social media influencer, in an attempt to transform her own life into something like the one she sees on Taylor’s Instagram.\u003c/p>\n\u003cp>At the climax of the movie, what the viewer thinks will be the end of Ingrid—her exposure as a liar, her excommunication from Taylor’s friend group, her attempt to commit suicide on camera—ends up being the thing that propels her to her own stardom. It is when she comes clean, and talks about social media being an elaborate fabrication, that she finally acquires her own influencer status. That very thing is now being mirrored in reality.\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/xP4vD1tWbPU'\n title='//www.youtube.com/embed/xP4vD1tWbPU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The plot of the 2017 movie is now so of the moment that Natalie Beach even referenced it in her \u003cem>Cut\u003c/em> article, claiming that people ask her if Caroline Calloway is “both characters from \u003cem>Ingrid Goes West\u003c/em>.” A closer analogy (at least if you take the movie’s kidnapping and violence out of the mix) would very much leave Beach in the Ingrid role. It’s unlikely she realizes that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For Kevin Brown, distance is no object. Not looking directly at the basket is no impediment. And physical obstacles mean nothing. The East Bay man has developed a magical ability to get basketballs through hoops, with his back turned and with minimal effort.\u003c/p>\n\u003cp>Brown’s bizarre skill has to be seen to be believed—which is why he started an Instagram account called \u003ca href=\"https://www.instagram.com/hoopseyemade/\" target=\"_blank\" rel=\"noopener\">@hoopseyemade\u003c/a>. The joy he and his two kids, Ian and Oliver, express every time he sinks another is totally infectious.\u003c/p>\n\u003cp>https://www.instagram.com/p/BwIYOvsB1b_/\u003c/p>\n\u003cp>“Back in December, I was shooting hoops with my brother-in-law and I threw the ball from the other side of the court and it went in,” Brown tells KQED. “I decided to take it up a notch and try throwing it behind my back. Wouldn’t you know, I found my hidden talent! Now I pretty much keep a basketball in my car wherever I go and keep an eye out for new hoops.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B1hof1bBKCW/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I usually say ‘Kobe!’ when I shoot a hoop,” Brown explains. “I’m not really a fan, it was just a funny thing that my brother-in-law would always say when we were taking crazy shots. Now I can’t help but say it almost every time.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B1KMF40BS8d/\u003c/p>\n\u003cp>When not throwing balls at hoops backwards, Brown is a \u003ca href=\"https://www.instagram.com/WhatEyeScene/\" target=\"_blank\" rel=\"noopener\">photographer\u003c/a> and drummer for local bands \u003ca href=\"https://www.facebook.com/pg/JackalFleece/about/?ref=page_internal\" target=\"_blank\" rel=\"noopener\">Jackal Fleece\u003c/a> and \u003ca href=\"https://www.facebook.com/essesoakland/\" target=\"_blank\" rel=\"noopener\">Esses\u003c/a>. “I am traveling to Europe with Esses in October,” Brown says, “and there are already some people eagerly awaiting my arrival, claiming they’re going to install a hoop on the stage, or saying that there’s a hoop on top of an old WWII bunker near their house that they want to take me to. So stay tuned for international HoopsEyeMade! Yes, this is my new life.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BzejFw2B66t/\u003c/p>\n\u003cp>Brown hasn’t played basketball on a team since he was 10 years old, and spends a maximum of 15 minutes playing a day, depending on which park he’s taking his children to. “It does make me happy that so many people have told me that watching the videos brings them joy and laughter,” Brown says. “That’s what we all need more of these days.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/p/B2PSzY5BYns/\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Back in December, I was shooting hoops with my brother-in-law and I threw the ball from the other side of the court and it went in,” Brown tells KQED. “I decided to take it up a notch and try throwing it behind my back. Wouldn’t you know, I found my hidden talent! Now I pretty much keep a basketball in my car wherever I go and keep an eye out for new hoops.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When not throwing balls at hoops backwards, Brown is a \u003ca href=\"https://www.instagram.com/WhatEyeScene/\" target=\"_blank\" rel=\"noopener\">photographer\u003c/a> and drummer for local bands \u003ca href=\"https://www.facebook.com/pg/JackalFleece/about/?ref=page_internal\" target=\"_blank\" rel=\"noopener\">Jackal Fleece\u003c/a> and \u003ca href=\"https://www.facebook.com/essesoakland/\" target=\"_blank\" rel=\"noopener\">Esses\u003c/a>. “I am traveling to Europe with Esses in October,” Brown says, “and there are already some people eagerly awaiting my arrival, claiming they’re going to install a hoop on the stage, or saying that there’s a hoop on top of an old WWII bunker near their house that they want to take me to. So stay tuned for international HoopsEyeMade! Yes, this is my new life.”\u003c/p>\u003c/p>\u003c/div>",
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"slug": "the-90s-experience-instagram",
"title": "A New Low for Instagram Museums at 'The 90’s Experience' in Oakland",
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"content": "\u003cp>There are limited “experiences” to be had in “\u003ca href=\"https://experiencethe90s.com/\" rel=\"noopener\" target=\"_blank\">The 90’s Experience\u003c/a>,” the latest contender in the Instagram-fodder-as-pop-up-museum trend which opened last weekend in Oakland’s Jack London Square. In fact, there is pretty much one experience: photographing yourself and your friends against various digitally printed vinyl backgrounds meant to evoke “iconic” moments in the decade’s pop culture.\u003c/p>\n\u003cp>This may sound attractive \u003ca href=\"https://www.instagram.com/experiencethe90s/tagged/\" rel=\"noopener\" target=\"_blank\">to some\u003c/a>. But in every permutation of the imagination, every possible arrangement of hand-on-hip or head-in-hands or twist-of-the-neck-with-open-mouth-and-peace-sign, this experience is simply not worth the $32 price of admission.\u003c/p>\n\u003cp>Let’s look at other “experiences” that offer up what ultimately amounts to photo opportunities for their attendees to share on social media. The \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\" rel=\"noopener\" target=\"_blank\">Color Factory\u003c/a>, a “collaborative interactive exhibit,” debuted in August 2017 in San Francisco for $32 a ticket. It was sold out for its entire eight months on Sutter Street, reopening in New York City where tickets are now $38 a pop. And the Museum of Ice Cream currently holds court at the corner of O’Farrell and Grant, where it offers “an experiential installation inspired by ice cream.” Entrance is $38 a person. \u003c/p>\n\u003cfigure id=\"attachment_13861542\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/90s_1200.jpg\" alt='Outside the Jack London Square pop-up \"experience.\"' width=\"1200\" height=\"800\" class=\"size-full wp-image-13861542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Outside the Jack London Square pop-up “experience.” \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I bring up these prices to establish the market rate for Instagram traps, which the creators of “The 90’s Experience” likely studied. The success of these “experiences,” or at least their proliferation, seems to suggest that there is an eager audience for lightly themed, candy-colored selfie spaces.\u003c/p>\n\u003cp>But what “The 90’s Experience” makes clear is that it’s not as easy to create an “experience” as it is to double-tap one. Though I’m loathe to hold up the Color Factory and the Museum of Ice Cream as places \u003ci>worth\u003c/i> over $30 of your hard-earned money, they do provide at least a modicum of in-person sensory stimulation before you translate that moment into a flat digital image for the purposes of feeding some tech giant’s understanding of you and your demographic. \u003c/p>\n\u003cp>I wouldn’t compare “The 90’s Experience” to the Color Factory and the Museum of Ice Cream if one of the five local organizers, Ky Truong, hadn’t mentioned those operations himself during preview night festivities for media, collaborators and Instagram influencers. Truong says those other “experiences” are too general, and with this pop-up effort he and his co-producers want to create something more specific, more nostalgic.\u003c/p>\n\u003cfigure id=\"attachment_13861543\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200.jpg\" alt=\"Co-organizer Ky Truong pointing out the intercom beside a replica 'Friends' apartment door.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13861543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Co-organizer Ky Truong pointing out the intercom beside a replica ‘Friends’ apartment door. \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bathing all five senses,” is how “The 90’s Experience” describes itself on its website.\u003c/p>\n\u003cp>The closest “The 90’s Experience” gets to an actual activity is the zone featuring giant “The 90’s Experience”-branded markers that you’re encouraged to sniff. On opening night, I couldn’t smell anything special on their fuzzy tips. The pens do not hold ink, of course, so after sniffing, the only thing left to do is to pose against a vinyl backdrop decorated with the approximations of doodles you might once have made in the 90s (yes, there are several “Stussy esses”).\u003c/p>\n\u003cp>Did “The 90’s Experience” unlock the nostalgia vault for me, as Truong hoped? By all reasoning I should be a member of its prime audience: I remember the 90s well as formative grade school and middle school years. And surely, across the self-proclaimed 6,000-square-foot space with 12 interactive rooms (this is a stretch, as most of the themed spaces inside the Jack London Square storefront are one to two walls, if any) there should have been something to stir my feelings.\u003c/p>\n\u003cfigure id=\"attachment_13861544\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/FreshPrince_1200.jpg\" alt=\"Artist Maria Garcia poses on a 'Fresh Prince' throne.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13861544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Artist Maria Garcia poses on a ‘Fresh Prince’ throne. \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But despite organizers’ best efforts at what appeared to be Googling “the 90s”—a \u003ci>Friends\u003c/i> door, a \u003ci>Nevermind\u003c/i> photo op (floating money, check!), a column half-covered in pogs, a \u003ci>Fresh Prince\u003c/i> throne, a giant plastic beeper (solid, no buttons to press), a wall adorned in CDs and a Mario Bros. tableau—the pangs of nostalgia stayed firmly behind lock and key. \u003c/p>\n\u003cp>In one corner, the set decoration (because let’s face it, the vinyl-covered surfaces are really just a series of backdrops) makes an attempt at Oakland specificity. On a faux-brick wall, concert flyers advertise Spring Jam on the Green, a 1993 concert in Jack London Square, and a Salt-n-Pepa concert at the Henry J. Kaiser Arena. One problem: the Salt-n-Pepa flyer is from 1987.\u003c/p>\n\u003cp>Beside these is what looks like a newspaper story on the 1992 Los Angeles riots, but upon further investigation reveals itself to be a \u003ca href=\"https://www.dailynews.com/2012/04/28/unrest-and-aftermath-transformed-city-lapd/\" rel=\"noopener\" target=\"_blank\">\u003ci>Los Angeles Daily News\u003c/i> article\u003c/a> written to commemorate the 20th anniversary of the events, complete with a QR code. The paper is from 2012. \u003c/p>\n\u003cfigure id=\"attachment_13861546\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/BashBrothers_1200.jpg\" alt=\"Posters and flyers on a faux-brick wall at "The 90's Experience."\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13861546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Posters and flyers on a faux-brick wall at “The 90’s Experience.” \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other concert posters advertise events in New York and Ohio; this wall is nowhere and from no time—except possibly inside a casual, hurried gesture at the 1990s, made in 2019. (Disappointingly, the oversized gold plastic payphone at the end of this wall emits no sound through its earpiece, nor do its buttons actually move—a fact I discovered when I pushed the entire thing off balance with my index finger on the 9.)\u003c/p>\n\u003cp>Does “The 90’s Experience” actually teach us anything about life in the 90s? The timeline just inside its entryway is dotted with movie, album and product releases; their descriptions read as hastily cribbed copy from Wikipedia. (Can TLC’s “Waterfalls” really be summed up by explaining away the lyrics as “don’t go chasing intangible dreams without expecting consequences”?) That 2012 article is the closest we get to any historical or political information about the decade.\u003c/p>\n\u003cfigure id=\"attachment_13861545\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Nevermind_1200.jpg\" alt=\"Nicole Hankton poses like the baby on the cover of Nirvana's 1991 album 'Nevermind.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13861545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Hankton poses like the baby on the cover of Nirvana’s 1991 album ‘Nevermind.’ \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>News isn’t fun, I get it. But culture doesn’t exist in a vacuum. \u003ci>Jurassic Park\u003c/i>, \u003ci>Titanic\u003c/i> and \u003ci>The Matrix\u003c/i> can’t be reduced to the descriptor “iconic” without first understanding why they were such big hits—and that has a lot to do with the context in which they were made. But here they are now, along with Lisa Frank and Nirvana and giant boxes of cereal, unmoored and unmoving. Nineties culture gets trotted out as flattened simulations of things that were once very real and very meaningful, but are now simply meant to be photo opportunities captured at just the right angle.\u003c/p>\n\u003cp>What an experience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "A New Low for Instagram Museums at 'The 90’s Experience' in Oakland | KQED",
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"headline": "A New Low for Instagram Museums at 'The 90’s Experience' in Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are limited “experiences” to be had in “\u003ca href=\"https://experiencethe90s.com/\" rel=\"noopener\" target=\"_blank\">The 90’s Experience\u003c/a>,” the latest contender in the Instagram-fodder-as-pop-up-museum trend which opened last weekend in Oakland’s Jack London Square. In fact, there is pretty much one experience: photographing yourself and your friends against various digitally printed vinyl backgrounds meant to evoke “iconic” moments in the decade’s pop culture.\u003c/p>\n\u003cp>This may sound attractive \u003ca href=\"https://www.instagram.com/experiencethe90s/tagged/\" rel=\"noopener\" target=\"_blank\">to some\u003c/a>. But in every permutation of the imagination, every possible arrangement of hand-on-hip or head-in-hands or twist-of-the-neck-with-open-mouth-and-peace-sign, this experience is simply not worth the $32 price of admission.\u003c/p>\n\u003cp>Let’s look at other “experiences” that offer up what ultimately amounts to photo opportunities for their attendees to share on social media. The \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\" rel=\"noopener\" target=\"_blank\">Color Factory\u003c/a>, a “collaborative interactive exhibit,” debuted in August 2017 in San Francisco for $32 a ticket. It was sold out for its entire eight months on Sutter Street, reopening in New York City where tickets are now $38 a pop. And the Museum of Ice Cream currently holds court at the corner of O’Farrell and Grant, where it offers “an experiential installation inspired by ice cream.” Entrance is $38 a person. \u003c/p>\n\u003cfigure id=\"attachment_13861542\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/90s_1200.jpg\" alt='Outside the Jack London Square pop-up \"experience.\"' width=\"1200\" height=\"800\" class=\"size-full wp-image-13861542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Outside the Jack London Square pop-up “experience.” \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I bring up these prices to establish the market rate for Instagram traps, which the creators of “The 90’s Experience” likely studied. The success of these “experiences,” or at least their proliferation, seems to suggest that there is an eager audience for lightly themed, candy-colored selfie spaces.\u003c/p>\n\u003cp>But what “The 90’s Experience” makes clear is that it’s not as easy to create an “experience” as it is to double-tap one. Though I’m loathe to hold up the Color Factory and the Museum of Ice Cream as places \u003ci>worth\u003c/i> over $30 of your hard-earned money, they do provide at least a modicum of in-person sensory stimulation before you translate that moment into a flat digital image for the purposes of feeding some tech giant’s understanding of you and your demographic. \u003c/p>\n\u003cp>I wouldn’t compare “The 90’s Experience” to the Color Factory and the Museum of Ice Cream if one of the five local organizers, Ky Truong, hadn’t mentioned those operations himself during preview night festivities for media, collaborators and Instagram influencers. Truong says those other “experiences” are too general, and with this pop-up effort he and his co-producers want to create something more specific, more nostalgic.\u003c/p>\n\u003cfigure id=\"attachment_13861543\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200.jpg\" alt=\"Co-organizer Ky Truong pointing out the intercom beside a replica 'Friends' apartment door.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13861543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/90s_Friends_Truong_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Co-organizer Ky Truong pointing out the intercom beside a replica ‘Friends’ apartment door. \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bathing all five senses,” is how “The 90’s Experience” describes itself on its website.\u003c/p>\n\u003cp>The closest “The 90’s Experience” gets to an actual activity is the zone featuring giant “The 90’s Experience”-branded markers that you’re encouraged to sniff. On opening night, I couldn’t smell anything special on their fuzzy tips. The pens do not hold ink, of course, so after sniffing, the only thing left to do is to pose against a vinyl backdrop decorated with the approximations of doodles you might once have made in the 90s (yes, there are several “Stussy esses”).\u003c/p>\n\u003cp>Did “The 90’s Experience” unlock the nostalgia vault for me, as Truong hoped? By all reasoning I should be a member of its prime audience: I remember the 90s well as formative grade school and middle school years. And surely, across the self-proclaimed 6,000-square-foot space with 12 interactive rooms (this is a stretch, as most of the themed spaces inside the Jack London Square storefront are one to two walls, if any) there should have been something to stir my feelings.\u003c/p>\n\u003cfigure id=\"attachment_13861544\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/FreshPrince_1200.jpg\" alt=\"Artist Maria Garcia poses on a 'Fresh Prince' throne.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13861544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/FreshPrince_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Artist Maria Garcia poses on a ‘Fresh Prince’ throne. \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But despite organizers’ best efforts at what appeared to be Googling “the 90s”—a \u003ci>Friends\u003c/i> door, a \u003ci>Nevermind\u003c/i> photo op (floating money, check!), a column half-covered in pogs, a \u003ci>Fresh Prince\u003c/i> throne, a giant plastic beeper (solid, no buttons to press), a wall adorned in CDs and a Mario Bros. tableau—the pangs of nostalgia stayed firmly behind lock and key. \u003c/p>\n\u003cp>In one corner, the set decoration (because let’s face it, the vinyl-covered surfaces are really just a series of backdrops) makes an attempt at Oakland specificity. On a faux-brick wall, concert flyers advertise Spring Jam on the Green, a 1993 concert in Jack London Square, and a Salt-n-Pepa concert at the Henry J. Kaiser Arena. One problem: the Salt-n-Pepa flyer is from 1987.\u003c/p>\n\u003cp>Beside these is what looks like a newspaper story on the 1992 Los Angeles riots, but upon further investigation reveals itself to be a \u003ca href=\"https://www.dailynews.com/2012/04/28/unrest-and-aftermath-transformed-city-lapd/\" rel=\"noopener\" target=\"_blank\">\u003ci>Los Angeles Daily News\u003c/i> article\u003c/a> written to commemorate the 20th anniversary of the events, complete with a QR code. The paper is from 2012. \u003c/p>\n\u003cfigure id=\"attachment_13861546\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/BashBrothers_1200.jpg\" alt=\"Posters and flyers on a faux-brick wall at "The 90's Experience."\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13861546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/BashBrothers_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Posters and flyers on a faux-brick wall at “The 90’s Experience.” \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other concert posters advertise events in New York and Ohio; this wall is nowhere and from no time—except possibly inside a casual, hurried gesture at the 1990s, made in 2019. (Disappointingly, the oversized gold plastic payphone at the end of this wall emits no sound through its earpiece, nor do its buttons actually move—a fact I discovered when I pushed the entire thing off balance with my index finger on the 9.)\u003c/p>\n\u003cp>Does “The 90’s Experience” actually teach us anything about life in the 90s? The timeline just inside its entryway is dotted with movie, album and product releases; their descriptions read as hastily cribbed copy from Wikipedia. (Can TLC’s “Waterfalls” really be summed up by explaining away the lyrics as “don’t go chasing intangible dreams without expecting consequences”?) That 2012 article is the closest we get to any historical or political information about the decade.\u003c/p>\n\u003cfigure id=\"attachment_13861545\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Nevermind_1200.jpg\" alt=\"Nicole Hankton poses like the baby on the cover of Nirvana's 1991 album 'Nevermind.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13861545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Nevermind_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Hankton poses like the baby on the cover of Nirvana’s 1991 album ‘Nevermind.’ \u003ccite>(Carly Severn/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>News isn’t fun, I get it. But culture doesn’t exist in a vacuum. \u003ci>Jurassic Park\u003c/i>, \u003ci>Titanic\u003c/i> and \u003ci>The Matrix\u003c/i> can’t be reduced to the descriptor “iconic” without first understanding why they were such big hits—and that has a lot to do with the context in which they were made. But here they are now, along with Lisa Frank and Nirvana and giant boxes of cereal, unmoored and unmoving. Nineties culture gets trotted out as flattened simulations of things that were once very real and very meaningful, but are now simply meant to be photo opportunities captured at just the right angle.\u003c/p>\n\u003cp>What an experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Diaspora in Bloom: Assyrian-American Art on View in San Jose",
"headTitle": "Diaspora in Bloom: Assyrian-American Art on View in San Jose | KQED",
"content": "\u003cp>How much do you know about Assyrians? For many Americans, it’s news we have members of the ancient Middle Eastern ethnic group living here in the U.S. today.\u003c/p>\n\u003cp>Members of the Assyrian diaspora are spread out all over world, most in Iraq, Syria, Turkey and Iran. But conflicts \u003ca href=\"https://www.csmonitor.com/World/Middle-East/2019/0410/In-northeast-Syria-a-Christian-community-fights-for-survival\" target=\"_blank\" rel=\"noopener\">modern\u003c/a>, \u003ca href=\"https://www.bbc.co.uk/sounds/play/b00b7r71\" target=\"_blank\" rel=\"noopener\">ancient\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Assyrian_genocide\" target=\"_blank\" rel=\"noopener\">in between\u003c/a> forced hundreds of thousands of predominantly Christian Assyrians to move further afield, and the most recent figures from the U.S. Census Bureau estimate roughly 100,000 live in the United States.\u003c/p>\n\u003cp>\u003ca href=\"https://www.svlg.org/about-us/our-staff/nardin-sarkis/\" target=\"_blank\" rel=\"noopener\">Nardin Sarkis\u003c/a> works in government relations at the Silicon Valley Leadership Group. He estimates 10,000 Assyrians live in this region alone. So it was he got to chatting with fellow Assyrian-American \u003ca href=\"https://www.plugandplaytechcenter.com/about/our-team/akadina-yadegar/\" target=\"_blank\" rel=\"noopener\">Akadina Yadegar\u003c/a>, who works at Plug and Play Tech Center, about the dearth of modern Assyrian art in museums and galleries.\u003c/p>\n\u003cp>Ancient art there’s plenty of. The Assyrian Empire of Mesopotamia flourished some 4,000 years ago. At its peak, the empire stretched from Cyprus to Iran, from present-day Armenia and Azerbaijan to the Arabian Peninsula, Egypt and eastern Libya.\u003c/p>\n\u003cp>Assyrian kings spent some of their fabulous wealth on palaces full of art, including iconic, muscular stonework. Archeologists continue to pour over the details of of the empire’s sophisticated bureaucracy, detailed in durable clay cuneiform tablets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=7pa54hWROpQ][aside postID='news_10796779,news_2359,forum_2010101859436' label='Related Coverage']All of that said, Assyrians didn’t stop making art after that empire collapsed.\u003c/p>\n\u003cp>Neither Sarkis nor Yadegar is a professional art curator. But they wanted to show their own community and the wider Bay Area community that Assyrians have “more to offer” the world of visual arts than their admittedly impressive heritage from ancient times.\u003c/p>\n\u003cp>“The goal for the exhibit itself is to elevate the modern over the ancient, celebrate present Assyrian artists who are looking at contemporary issues,” explains Yadegar.\u003c/p>\n\u003cp>These two Millennials went looking — where else? — on Instagram, and found artists like \u003ca href=\"https://www.instagram.com/atra.givarkes/\" target=\"_blank\" rel=\"noopener\">Atra Givarkes\u003c/a> of Orange County, who gives neo-Aramaic calligraphy a bright, pop art face lift.\u003c/p>\n\u003cfigure id=\"attachment_13859296\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy.jpeg\" alt=\"Tablet Series by artist Atra Givarkes\" width=\"2048\" height=\"1074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-800x419.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-768x403.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1020x535.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1200x629.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1920x1006.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Tablet Series by artist Atra Givarkes \u003ccite>(Courtesy of Megan White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s \u003ca href=\"http://www.estherestheresther.com/index.html\" target=\"_blank\" rel=\"noopener\">Esther Elia\u003c/a> of San Francisco, who works in multiple mediums. Some of her most striking contributions to this show include paintings she based on her family’s photographs from the early 20th century.\u003c/p>\n\u003cp>Elia explores the refugee experience both as a psychological journey for generations of Assyrian-Americans, and as an emotionally laden lens through which to view the current state of anti-immigration sentiment in the United States and Western Europe.\u003c/p>\n\u003cp>“Assyrians that were forced out of their lands and came to America for a new life as so many do; came as refugees and look what we’ve created. We’ve created art. We’ve created culture to give back to our community,” Sarkis said.\u003c/p>\n\u003cfigure id=\"attachment_13859297\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM.jpeg\" alt=\"Artist Esther Elia writes, "The picture shows my great-grandfather side by side with his brothers, all refugees fresh from Iran. While in Denmark recently, a taxi driver helpfully informed us that 'the refugees ruined Sweden.' What he said as pragmatic fact struck me as a personal rejection of my own people. It ultimately led me to ask, 'At what cost does the happiest place in the world maintain itself?'" Acrylic on canvas, 2018.\" width=\"2048\" height=\"1916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-160x150.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-800x749.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-768x719.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1020x954.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1200x1123.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1920x1797.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Artist Esther Elia writes, “The picture shows my great-grandfather side by side with his brothers, all refugees fresh from Iran. While in Denmark recently, a taxi driver helpfully informed us that ‘the refugees ruined Sweden.’ What he said as pragmatic fact struck me as a personal rejection of my own people. It ultimately led me to ask, ‘At what cost does the happiest place in the world maintain itself?'” Acrylic on canvas, 2018. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to argue, observing more than 30 works of painting, photography, pottery, graphic design and video in this exhibition.\u003c/p>\n\u003cp>It took the two amateur curators a year to put \u003cem>Diaspora in Bloom\u003c/em> together. Naturally, I ask if they’re game to do something like this again. Yadegar pauses for a moment, smiling.\u003c/p>\n\u003cp>“It’s possible,” she replies.\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>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Diaspora in Bloom: \u003c/strong>\u003cstrong>Assyrians in the 20th Century & Beyond\u003c/strong>\u003c/em>\u003cem>\u003cstrong> \u003c/strong>runs June 1, 7, 8 & 14: 6pm-9pm and June 2,9 & 15 noon-4pm at \u003ca href=\"https://www.artarkgallery.com\" target=\"_blank\" rel=\"noopener\">Art Ark Gallery\u003c/a> in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://www.artarkgallery.com/current.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Assyrian-American visual art gets a chance to strut its stuff in an exhibition at San Jose's Art Ark Gallery.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How much do you know about Assyrians? For many Americans, it’s news we have members of the ancient Middle Eastern ethnic group living here in the U.S. today.\u003c/p>\n\u003cp>Members of the Assyrian diaspora are spread out all over world, most in Iraq, Syria, Turkey and Iran. But conflicts \u003ca href=\"https://www.csmonitor.com/World/Middle-East/2019/0410/In-northeast-Syria-a-Christian-community-fights-for-survival\" target=\"_blank\" rel=\"noopener\">modern\u003c/a>, \u003ca href=\"https://www.bbc.co.uk/sounds/play/b00b7r71\" target=\"_blank\" rel=\"noopener\">ancient\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Assyrian_genocide\" target=\"_blank\" rel=\"noopener\">in between\u003c/a> forced hundreds of thousands of predominantly Christian Assyrians to move further afield, and the most recent figures from the U.S. Census Bureau estimate roughly 100,000 live in the United States.\u003c/p>\n\u003cp>\u003ca href=\"https://www.svlg.org/about-us/our-staff/nardin-sarkis/\" target=\"_blank\" rel=\"noopener\">Nardin Sarkis\u003c/a> works in government relations at the Silicon Valley Leadership Group. He estimates 10,000 Assyrians live in this region alone. So it was he got to chatting with fellow Assyrian-American \u003ca href=\"https://www.plugandplaytechcenter.com/about/our-team/akadina-yadegar/\" target=\"_blank\" rel=\"noopener\">Akadina Yadegar\u003c/a>, who works at Plug and Play Tech Center, about the dearth of modern Assyrian art in museums and galleries.\u003c/p>\n\u003cp>Ancient art there’s plenty of. The Assyrian Empire of Mesopotamia flourished some 4,000 years ago. At its peak, the empire stretched from Cyprus to Iran, from present-day Armenia and Azerbaijan to the Arabian Peninsula, Egypt and eastern Libya.\u003c/p>\n\u003cp>Assyrian kings spent some of their fabulous wealth on palaces full of art, including iconic, muscular stonework. Archeologists continue to pour over the details of of the empire’s sophisticated bureaucracy, detailed in durable clay cuneiform tablets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All of that said, Assyrians didn’t stop making art after that empire collapsed.\u003c/p>\n\u003cp>Neither Sarkis nor Yadegar is a professional art curator. But they wanted to show their own community and the wider Bay Area community that Assyrians have “more to offer” the world of visual arts than their admittedly impressive heritage from ancient times.\u003c/p>\n\u003cp>“The goal for the exhibit itself is to elevate the modern over the ancient, celebrate present Assyrian artists who are looking at contemporary issues,” explains Yadegar.\u003c/p>\n\u003cp>These two Millennials went looking — where else? — on Instagram, and found artists like \u003ca href=\"https://www.instagram.com/atra.givarkes/\" target=\"_blank\" rel=\"noopener\">Atra Givarkes\u003c/a> of Orange County, who gives neo-Aramaic calligraphy a bright, pop art face lift.\u003c/p>\n\u003cfigure id=\"attachment_13859296\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy.jpeg\" alt=\"Tablet Series by artist Atra Givarkes\" width=\"2048\" height=\"1074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-800x419.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-768x403.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1020x535.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1200x629.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/DSC_0619-Copy-1920x1006.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Tablet Series by artist Atra Givarkes \u003ccite>(Courtesy of Megan White)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s \u003ca href=\"http://www.estherestheresther.com/index.html\" target=\"_blank\" rel=\"noopener\">Esther Elia\u003c/a> of San Francisco, who works in multiple mediums. Some of her most striking contributions to this show include paintings she based on her family’s photographs from the early 20th century.\u003c/p>\n\u003cp>Elia explores the refugee experience both as a psychological journey for generations of Assyrian-Americans, and as an emotionally laden lens through which to view the current state of anti-immigration sentiment in the United States and Western Europe.\u003c/p>\n\u003cp>“Assyrians that were forced out of their lands and came to America for a new life as so many do; came as refugees and look what we’ve created. We’ve created art. We’ve created culture to give back to our community,” Sarkis said.\u003c/p>\n\u003cfigure id=\"attachment_13859297\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM.jpeg\" alt=\"Artist Esther Elia writes, "The picture shows my great-grandfather side by side with his brothers, all refugees fresh from Iran. While in Denmark recently, a taxi driver helpfully informed us that 'the refugees ruined Sweden.' What he said as pragmatic fact struck me as a personal rejection of my own people. It ultimately led me to ask, 'At what cost does the happiest place in the world maintain itself?'" Acrylic on canvas, 2018.\" width=\"2048\" height=\"1916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-160x150.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-800x749.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-768x719.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1020x954.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1200x1123.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Photo-Jun-06-10-28-50-AM-1920x1797.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Artist Esther Elia writes, “The picture shows my great-grandfather side by side with his brothers, all refugees fresh from Iran. While in Denmark recently, a taxi driver helpfully informed us that ‘the refugees ruined Sweden.’ What he said as pragmatic fact struck me as a personal rejection of my own people. It ultimately led me to ask, ‘At what cost does the happiest place in the world maintain itself?'” Acrylic on canvas, 2018. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to argue, observing more than 30 works of painting, photography, pottery, graphic design and video in this exhibition.\u003c/p>\n\u003cp>It took the two amateur curators a year to put \u003cem>Diaspora in Bloom\u003c/em> together. Naturally, I ask if they’re game to do something like this again. Yadegar pauses for a moment, smiling.\u003c/p>\n\u003cp>“It’s possible,” she replies.\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>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Diaspora in Bloom: \u003c/strong>\u003cstrong>Assyrians in the 20th Century & Beyond\u003c/strong>\u003c/em>\u003cem>\u003cstrong> \u003c/strong>runs June 1, 7, 8 & 14: 6pm-9pm and June 2,9 & 15 noon-4pm at \u003ca href=\"https://www.artarkgallery.com\" target=\"_blank\" rel=\"noopener\">Art Ark Gallery\u003c/a> in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://www.artarkgallery.com/current.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "More Than Just Another Instagram Experience at BAMPFA",
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"content": "\u003cp>From a distance, you might think the room at BAMPFA containing \u003cem>\u003ca href=\"https://bampfa.org/program/masako-miki-matrix-273\" rel=\"noopener\" target=\"_blank\">Masako Miki / Matrix 273\u003c/a>\u003c/em> is in the lineage of the Color Factory or the Museum of Ice Cream—yet another colorful, twee, vapid Instagram experience. It’s vibrantly hued in bright yellows and pinks, it’s laid out in a combination of sculpture and wall painting, and it’s perfect for a radial tilt shift and a Ludwig filter. \u003c/p>\n\u003cp>But while it’s true you’ll be taking photos the whole time you’re at \u003cem>Matrix 273\u003c/em>, there’s far more here than meets the ‘Gram. Get close to Miki’s playful sculptures, and you’ll see the patience in her craft, a detailed wool-on-foam technique sometimes augmented with slanted, Eames-esque wooden legs. Move around the room, and the change in perspective yields surprising coherence between sculptures and walls. What looks like a white hanging pestle becomes the nose of a face; the curve of a caring arm embraces the sad droop of a grey eye.\u003c/p>\n\u003cp>This is where the true joy lives: in interacting with Miki’s work rather than in broadcasting it for a followers’ frenzy of double-taps. I spent 45 delightful minutes with \u003cem>Matrix 273\u003c/em>, lingering, pondering, laughing, and theorizing with strangers, and I didn’t post a single photo. It felt wonderful.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Matrix 273’ runs through April 28 at BAMPFA in Berkeley. \u003ca href=\"https://bampfa.org/program/masako-miki-matrix-273\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. Additionally, work by Miki is on display through Feb. 23 as \u003cem>Masako Miki: Shapeshifters\u003c/em> at CULT | Aimee Friberg Exhibitions in San Francisco. \u003ca href=\"https://cultexhibitions.com/exhibition/masako-miki-shapeshifters/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From a distance, you might think the room at BAMPFA containing \u003cem>\u003ca href=\"https://bampfa.org/program/masako-miki-matrix-273\" rel=\"noopener\" target=\"_blank\">Masako Miki / Matrix 273\u003c/a>\u003c/em> is in the lineage of the Color Factory or the Museum of Ice Cream—yet another colorful, twee, vapid Instagram experience. It’s vibrantly hued in bright yellows and pinks, it’s laid out in a combination of sculpture and wall painting, and it’s perfect for a radial tilt shift and a Ludwig filter. \u003c/p>\n\u003cp>But while it’s true you’ll be taking photos the whole time you’re at \u003cem>Matrix 273\u003c/em>, there’s far more here than meets the ‘Gram. Get close to Miki’s playful sculptures, and you’ll see the patience in her craft, a detailed wool-on-foam technique sometimes augmented with slanted, Eames-esque wooden legs. Move around the room, and the change in perspective yields surprising coherence between sculptures and walls. What looks like a white hanging pestle becomes the nose of a face; the curve of a caring arm embraces the sad droop of a grey eye.\u003c/p>\n\u003cp>This is where the true joy lives: in interacting with Miki’s work rather than in broadcasting it for a followers’ frenzy of double-taps. I spent 45 delightful minutes with \u003cem>Matrix 273\u003c/em>, lingering, pondering, laughing, and theorizing with strangers, and I didn’t post a single photo. It felt wonderful.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Matrix 273’ runs through April 28 at BAMPFA in Berkeley. \u003ca href=\"https://bampfa.org/program/masako-miki-matrix-273\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. Additionally, work by Miki is on display through Feb. 23 as \u003cem>Masako Miki: Shapeshifters\u003c/em> at CULT | Aimee Friberg Exhibitions in San Francisco. \u003ca href=\"https://cultexhibitions.com/exhibition/masako-miki-shapeshifters/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f we bracket for a moment the Kanyes of the world, celebrity social media accounts tend to fall into a few categories: there are beloved celebs whose posts simply confirm their delightfulness (\u003ca href=\"https://www.nytimes.com/2018/02/13/fashion/leslie-jones-olympics-twitter.html\" target=\"_blank\" rel=\"noopener noreferrer\">Leslie Jones\u003c/a>, the magic that is \u003ca href=\"https://www.kqed.org/pop/33466/celebrity-gram-appreciation-corner-tom-hanks\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Hanks’ stray gloves, signed with “Hanx”\u003c/a>). There are people we might have otherwise assumed were pretty but boring who turn out to be actually very clever, funny and pretty (\u003ca href=\"https://www.instagram.com/chrissyteigen/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Chrissy Teigen\u003c/a>, \u003ca href=\"https://www.instagram.com/vancityreynolds/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Reynolds\u003c/a>). And there are people to whom we might have never given a second thought—people who, upon the public assessing their public-facing content, turn out to be undeniable racists or homophobes (for the latter: hi, \u003ca href=\"https://www.kqed.org/pop/107973/kevin-hart-bows-out-as-oscars-host-amid-backlash-over-past-tweets\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Hart\u003c/a>).\u003c/p>\n\u003cp>But actual impact on a person’s stock aside, the purpose of most social media accounts is self-promotion. This is true for the famous and the non-famous. It is true whether you’re hawking \u003ca href=\"https://metro.co.uk/2018/08/01/kylie-jenner-promotes-detox-tea-after-kim-kardashians-weight-loss-controversy-7782598/\" target=\"_blank\" rel=\"noopener noreferrer\">a bullshit detox tea\u003c/a> or posting pics of the show you played last night or self-deprecating jokes about being an old lady for staying home on a Saturday or finding the best angle for your engagement ring or car.\u003c/p>\n\u003cp>And then there’s Patti Smith.\u003c/p>\n\u003cfigure id=\"attachment_13848523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/pattiphone-800x586.jpg\" alt=\"Patti Smith's desk at a hotel in London, posted on her Instagram.\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patti Smith’s desk at a hotel in London, posted on her Instagram. \u003ccite>(Patti Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>atti Smith doesn’t need to tell you how great she is, and hopefully, you don’t need me to tell you either. The Godmother of Punk’s music, poetry and visual art have shaped the American landscape for a solid half-century now; people like Madonna, Morrissey, and Michael Stipe all point to her and her seminal record \u003cem>Horses\u003c/em> as a starting spark for their careers. Courtney Love once told VH1 that she first heard Smith’s music while Love was a teenager, in juvenile hall, and “realized that you could do something that was completely subversive that didn’t involve violence [or] felonies. I stopped making trouble.”\u003c/p>\n\u003cp>Smith’s 2010 memoir \u003cem>Just Kids\u003c/em> won the National Book Award. She’s an elder stateswoman, to be sure—but she also really liked \u003cem>Aqua Teen Hunger Force\u003c/em>, as evidenced by her \u003ca href=\"https://www.youtube.com/watch?v=deXk8xuUHWQ\" target=\"_blank\" rel=\"noopener noreferrer\">elegy for the show\u003c/a> upon its series finale in 2015. (Show of hands for who else can think of no better dream date than an evening of getting stoned with Patti Smith and watching ATHF? I thought so.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Simply put: at 72, the woman’s far from ready to be treated like a museum piece. Those who have never seen her live and have $50 lying around should absolutely see for themselves this coming weekend, when she plays \u003ca href=\"http://thefillmore.com/event/patti-smith-band/\" target=\"_blank\" rel=\"noopener noreferrer\">back-to-back nights at The Fillmore Jan. 11 and 12\u003c/a>. (There’s also\u003ca href=\"https://www.sfai.edu/exhibitions-public-events/detail/wing-an-exhibition-of-photographs-by-patti-smith\" target=\"_blank\" rel=\"noopener noreferrer\"> a collection of her photographs on display Jan. 14-19 at the San Francisco Art Institute\u003c/a>, work that explores her connection to Frida Kahlo and Diego Rivera.)\u003c/p>\n\u003cp>For everyone else, there’s her Instagram.\u003c/p>\n\u003cfigure id=\"attachment_13848520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848520\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/patti.leaf_-800x624.jpg\" alt=\"A leaf, posted to Patti Smith's Instagram.\" width=\"800\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/patti.leaf_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/patti.leaf_-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/patti.leaf_-768x599.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A leaf, posted to Patti Smith’s Instagram. \u003ccite>(Patti Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> don’t recall exactly when I first became aware of the oddly soothing, terrifically weird, refreshingly intimate yet thoroughly non-promotional photograph collection that is Patti Smith’s Instagram account. But I do know that it’s improved my life in a more tangible way than just about anything else on social media. There she is, hair loose, strolling an elegant hallway next to \u003ca href=\"https://www.instagram.com/p/BsNR7w8BAeA/\" target=\"_blank\" rel=\"noopener noreferrer\">her pal Michael Stipe\u003c/a>. There she is with famed \u003ca href=\"https://www.instagram.com/p/Bqp7hkTByzd/\" target=\"_blank\" rel=\"noopener noreferrer\">film director Bernardo Bertolucci,\u003c/a> cool as always in black and white. Her children feature prominently, as do \u003ca href=\"https://www.instagram.com/p/BpjNLXtBgKi/\" target=\"_blank\" rel=\"noopener noreferrer\">notebooks\u003c/a> and desks and hotel rooms.\u003c/p>\n\u003cp>But the best Patti Smith Instagrams are the everyday objects. A recent favorite, accompanying a photo of a leaf, above, that has apparently been run over by something with a wheel:\u003c/p>\n\u003cp>She writes:\u003c/p>\n\u003cblockquote>\u003cp>This is\u003cbr>\na leaf, that experienced much in\u003cbr>\nits brief life.It felt the propulsion\u003cbr>\nof its entrance into the world\u003cbr>\nfrom a budding branch. It felt\u003cbr>\nthe sun’s warmth as it drew its\u003cbr>\nnutrients. It heard an admiring\u003cbr>\nword from a passerby. It was\u003cbr>\nilluminated by the full moon,\u003cbr>\nand rained upon. It felt the\u003cbr>\nwind and a tearing away and\u003cbr>\nthe strange motion of falling.\u003cbr>\nIt felt the trampling of small\u003cbr>\nfeet and heavy boots. It felt\u003cbr>\nits colors drain away as it\u003cbr>\nsuccumbed, becoming one\u003cbr>\nwith the dust and gravel,\u003cbr>\nbeneath a welcoming sky.\u003c/p>\u003c/blockquote>\n\u003cp>I love so many things here. I love that her captions always start with “This is.” I love that she has the patience of Job when it comes to wishing people a happy birthday—literally, every single one of her photos contains at least one commenter announcing that it’s their birthday (or their neighbor’s mom’s cat’s birthday) and Smith, with nary a sign of exasperation, responds in kind.\u003c/p>\n\u003cp>But most of all, I love the window into the mind of a person who’s such a legend, such a poet, so seemingly untouchable—until she isn’t. Whose creativity seems innate, whose artistry seems baked in, whose work seems to have arrived fully formed—until \u003ca href=\"https://www.instagram.com/p/BsQnbywhr4i/\" target=\"_blank\" rel=\"noopener noreferrer\">we see her rough drafts\u003c/a>, and it clearly didn’t.\u003c/p>\n\u003cfigure id=\"attachment_13848478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-800x450.jpg\" alt=\"Patti Smith.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patti Smith. \u003ccite>(via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a bit played out at this point—and by played out I of course mean beaten to death on social media—to discuss the “energy” one is bringing into 2019. But like many internet-addicted people I know, one goal I have is to spend less time on any platform that makes me feel like I have to perform. Call it the new Millennial American Dream: get off the requisite hamster wheel of self-promotion. Most days I’m more than ready to throw the whole damn internet away if it’ll help.\u003c/p>\n\u003cp>But other days, Patti Smith posts a photo \u003ca href=\"https://www.instagram.com/p/BkaXkmRl9m8/\" target=\"_blank\" rel=\"noopener noreferrer\">of her coffee\u003c/a> and says she got some work done. And that the morning is now turning into afternoon, and that she just wanted to appreciate the moment.\u003c/p>\n\u003cp>And I think, if Patti Smith can do that—\u003cem>and\u003c/em> still find the time to wish everyone a happy birthday—maybe I can too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Patti Smith and Her Band perform at The Fillmore in San Francisco at 8 p.m. on Friday, Jan. 11 and Saturday, Jan. 12. \u003ca href=\"http://thefillmore.com/event/patti-smith-band/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Patti Smith also exhibits a collection of her photographs Jan. 14-19 at the San Francisco Art Institute. \u003ca href=\"https://www.sfai.edu/exhibitions-public-events/detail/wing-an-exhibition-of-photographs-by-patti-smith\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f we bracket for a moment the Kanyes of the world, celebrity social media accounts tend to fall into a few categories: there are beloved celebs whose posts simply confirm their delightfulness (\u003ca href=\"https://www.nytimes.com/2018/02/13/fashion/leslie-jones-olympics-twitter.html\" target=\"_blank\" rel=\"noopener noreferrer\">Leslie Jones\u003c/a>, the magic that is \u003ca href=\"https://www.kqed.org/pop/33466/celebrity-gram-appreciation-corner-tom-hanks\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Hanks’ stray gloves, signed with “Hanx”\u003c/a>). There are people we might have otherwise assumed were pretty but boring who turn out to be actually very clever, funny and pretty (\u003ca href=\"https://www.instagram.com/chrissyteigen/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Chrissy Teigen\u003c/a>, \u003ca href=\"https://www.instagram.com/vancityreynolds/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Reynolds\u003c/a>). And there are people to whom we might have never given a second thought—people who, upon the public assessing their public-facing content, turn out to be undeniable racists or homophobes (for the latter: hi, \u003ca href=\"https://www.kqed.org/pop/107973/kevin-hart-bows-out-as-oscars-host-amid-backlash-over-past-tweets\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Hart\u003c/a>).\u003c/p>\n\u003cp>But actual impact on a person’s stock aside, the purpose of most social media accounts is self-promotion. This is true for the famous and the non-famous. It is true whether you’re hawking \u003ca href=\"https://metro.co.uk/2018/08/01/kylie-jenner-promotes-detox-tea-after-kim-kardashians-weight-loss-controversy-7782598/\" target=\"_blank\" rel=\"noopener noreferrer\">a bullshit detox tea\u003c/a> or posting pics of the show you played last night or self-deprecating jokes about being an old lady for staying home on a Saturday or finding the best angle for your engagement ring or car.\u003c/p>\n\u003cp>And then there’s Patti Smith.\u003c/p>\n\u003cfigure id=\"attachment_13848523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848523\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/pattiphone-800x586.jpg\" alt=\"Patti Smith's desk at a hotel in London, posted on her Instagram.\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone-1020x747.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/pattiphone.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patti Smith’s desk at a hotel in London, posted on her Instagram. \u003ccite>(Patti Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>atti Smith doesn’t need to tell you how great she is, and hopefully, you don’t need me to tell you either. The Godmother of Punk’s music, poetry and visual art have shaped the American landscape for a solid half-century now; people like Madonna, Morrissey, and Michael Stipe all point to her and her seminal record \u003cem>Horses\u003c/em> as a starting spark for their careers. Courtney Love once told VH1 that she first heard Smith’s music while Love was a teenager, in juvenile hall, and “realized that you could do something that was completely subversive that didn’t involve violence [or] felonies. I stopped making trouble.”\u003c/p>\n\u003cp>Smith’s 2010 memoir \u003cem>Just Kids\u003c/em> won the National Book Award. She’s an elder stateswoman, to be sure—but she also really liked \u003cem>Aqua Teen Hunger Force\u003c/em>, as evidenced by her \u003ca href=\"https://www.youtube.com/watch?v=deXk8xuUHWQ\" target=\"_blank\" rel=\"noopener noreferrer\">elegy for the show\u003c/a> upon its series finale in 2015. (Show of hands for who else can think of no better dream date than an evening of getting stoned with Patti Smith and watching ATHF? I thought so.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Simply put: at 72, the woman’s far from ready to be treated like a museum piece. Those who have never seen her live and have $50 lying around should absolutely see for themselves this coming weekend, when she plays \u003ca href=\"http://thefillmore.com/event/patti-smith-band/\" target=\"_blank\" rel=\"noopener noreferrer\">back-to-back nights at The Fillmore Jan. 11 and 12\u003c/a>. (There’s also\u003ca href=\"https://www.sfai.edu/exhibitions-public-events/detail/wing-an-exhibition-of-photographs-by-patti-smith\" target=\"_blank\" rel=\"noopener noreferrer\"> a collection of her photographs on display Jan. 14-19 at the San Francisco Art Institute\u003c/a>, work that explores her connection to Frida Kahlo and Diego Rivera.)\u003c/p>\n\u003cp>For everyone else, there’s her Instagram.\u003c/p>\n\u003cfigure id=\"attachment_13848520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848520\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/patti.leaf_-800x624.jpg\" alt=\"A leaf, posted to Patti Smith's Instagram.\" width=\"800\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/patti.leaf_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/patti.leaf_-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/patti.leaf_-768x599.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A leaf, posted to Patti Smith’s Instagram. \u003ccite>(Patti Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> don’t recall exactly when I first became aware of the oddly soothing, terrifically weird, refreshingly intimate yet thoroughly non-promotional photograph collection that is Patti Smith’s Instagram account. But I do know that it’s improved my life in a more tangible way than just about anything else on social media. There she is, hair loose, strolling an elegant hallway next to \u003ca href=\"https://www.instagram.com/p/BsNR7w8BAeA/\" target=\"_blank\" rel=\"noopener noreferrer\">her pal Michael Stipe\u003c/a>. There she is with famed \u003ca href=\"https://www.instagram.com/p/Bqp7hkTByzd/\" target=\"_blank\" rel=\"noopener noreferrer\">film director Bernardo Bertolucci,\u003c/a> cool as always in black and white. Her children feature prominently, as do \u003ca href=\"https://www.instagram.com/p/BpjNLXtBgKi/\" target=\"_blank\" rel=\"noopener noreferrer\">notebooks\u003c/a> and desks and hotel rooms.\u003c/p>\n\u003cp>But the best Patti Smith Instagrams are the everyday objects. A recent favorite, accompanying a photo of a leaf, above, that has apparently been run over by something with a wheel:\u003c/p>\n\u003cp>She writes:\u003c/p>\n\u003cblockquote>\u003cp>This is\u003cbr>\na leaf, that experienced much in\u003cbr>\nits brief life.It felt the propulsion\u003cbr>\nof its entrance into the world\u003cbr>\nfrom a budding branch. It felt\u003cbr>\nthe sun’s warmth as it drew its\u003cbr>\nnutrients. It heard an admiring\u003cbr>\nword from a passerby. It was\u003cbr>\nilluminated by the full moon,\u003cbr>\nand rained upon. It felt the\u003cbr>\nwind and a tearing away and\u003cbr>\nthe strange motion of falling.\u003cbr>\nIt felt the trampling of small\u003cbr>\nfeet and heavy boots. It felt\u003cbr>\nits colors drain away as it\u003cbr>\nsuccumbed, becoming one\u003cbr>\nwith the dust and gravel,\u003cbr>\nbeneath a welcoming sky.\u003c/p>\u003c/blockquote>\n\u003cp>I love so many things here. I love that her captions always start with “This is.” I love that she has the patience of Job when it comes to wishing people a happy birthday—literally, every single one of her photos contains at least one commenter announcing that it’s their birthday (or their neighbor’s mom’s cat’s birthday) and Smith, with nary a sign of exasperation, responds in kind.\u003c/p>\n\u003cp>But most of all, I love the window into the mind of a person who’s such a legend, such a poet, so seemingly untouchable—until she isn’t. Whose creativity seems innate, whose artistry seems baked in, whose work seems to have arrived fully formed—until \u003ca href=\"https://www.instagram.com/p/BsQnbywhr4i/\" target=\"_blank\" rel=\"noopener noreferrer\">we see her rough drafts\u003c/a>, and it clearly didn’t.\u003c/p>\n\u003cfigure id=\"attachment_13848478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-800x450.jpg\" alt=\"Patti Smith.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/PattiSmith.Featured1.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patti Smith. \u003ccite>(via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a bit played out at this point—and by played out I of course mean beaten to death on social media—to discuss the “energy” one is bringing into 2019. But like many internet-addicted people I know, one goal I have is to spend less time on any platform that makes me feel like I have to perform. Call it the new Millennial American Dream: get off the requisite hamster wheel of self-promotion. Most days I’m more than ready to throw the whole damn internet away if it’ll help.\u003c/p>\n\u003cp>But other days, Patti Smith posts a photo \u003ca href=\"https://www.instagram.com/p/BkaXkmRl9m8/\" target=\"_blank\" rel=\"noopener noreferrer\">of her coffee\u003c/a> and says she got some work done. And that the morning is now turning into afternoon, and that she just wanted to appreciate the moment.\u003c/p>\n\u003cp>And I think, if Patti Smith can do that—\u003cem>and\u003c/em> still find the time to wish everyone a happy birthday—maybe I can too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Patti Smith and Her Band perform at The Fillmore in San Francisco at 8 p.m. on Friday, Jan. 11 and Saturday, Jan. 12. \u003ca href=\"http://thefillmore.com/event/patti-smith-band/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Patti Smith also exhibits a collection of her photographs Jan. 14-19 at the San Francisco Art Institute. \u003ca href=\"https://www.sfai.edu/exhibitions-public-events/detail/wing-an-exhibition-of-photographs-by-patti-smith\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "channeling-the-pain-of-depression-into-photography-and-finding-you-are-not-alone",
"title": "Channeling The Pain Of Depression Into Photography, And Finding You Are Not Alone",
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"headTitle": "Channeling The Pain Of Depression Into Photography, And Finding You Are Not Alone | KQED",
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"content": "\u003cp>In a particularly difficult season of depression, photography was one of the tools \u003ca href=\"https://www.tarawray.net/\">Tara Wray\u003c/a> used to cope.\u003c/p>\n\u003cp>“Just forcing myself to get out of my head and using the camera to do that is, in a way, a therapeutic tool,” says Wray, a photographer and filmmaker based in central Vermont. “It’s like exercise: You don’t want to do it, you have to make yourself do it, and you feel better after you do.”\u003c/p>\n\u003cfigure id=\"attachment_13847888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-800x585.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-520x380.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>In July, she published \u003ca href=\"http://www.yoffypress.com/too-tired-for-sunshine/\">Too Tired for Sunshine\u003c/a>, a book of her photos from that period, taken between 2011 and 2018. Some of the images show a stark beauty, others a raw loneliness, and some capture hints that the world may be slightly off-kilter.\u003c/p>\n\u003cp>Photographically, Wray says she’s drawn to light, the honesty of dogs and “things that are humorous and maybe aren’t trying to be.” Making these images helped keep her buoyant.\u003c/p>\n\u003cfigure id=\"attachment_13847886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-800x599.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>Having a camera functions as “a sort of protection, a buffer that gives me a reason to be somewhere,” she says. “It helps me move through an environment with a purpose when I might otherwise feel out of place.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And, like exercise, photography provides a kind of release. “When I’ve made what I think is a good picture, I can feel it, and everything else momentarily falls away.”\u003c/p>\n\u003cp>Through creative expression, Wray says she’s able to focus her “ruminating or obsessing” into “something bigger.”\u003c/p>\n\u003cfigure id=\"attachment_13847885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-800x540.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-768x518.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>“There were moments that I felt alone and isolated in a dark place, and I wondered if I would see the other side of it,” she says. “Photography has given me those moments back … I can now see them in a different light.”\u003c/p>\n\u003cp>At the same time, Wray stresses that photography isn’t her \u003cem>only \u003c/em>tool.\u003c/p>\n\u003cp>“You’ve gotta have a whole arsenal of things to deal with mental illness, and I try to do all the things I can to stay healthy,” she says, adding that she knows she is fortunate to have a supportive family and access to therapy, medication and good doctors.\u003c/p>\n\u003cfigure id=\"attachment_13847884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847884\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-800x600.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>Wray is a self-described introvert and private person. For her, taking the photos was one thing, but the decision to publish a book about her experience with mental illness was another.\u003c/p>\n\u003cp>“I question that all the time,” she says. But her belief in the importance of breaking a stigma won out.\u003c/p>\n\u003cp>“These are things you wouldn’t necessarily talk about with the other parents at pickup at school, but here I am putting everything out there,” says Wray. “I’m using my own sort of shame and fear of sharing this with others to encourage others, to say, ‘It’s OK to do it.’ … There’s nothing to be ashamed about.”\u003c/p>\n\u003cfigure id=\"attachment_13847882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-800x592.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-520x385.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>“The act of sharing a photo — of being seen and understood by others — probably matters more than I would like to admit,” she says.\u003c/p>\n\u003cp>That connection, it turned out, went both ways. People who saw the book reached out to Wray to share their excitement and their own photography. She had struck a chord.\u003c/p>\n\u003cp>“People would say, ‘I make work similarly,’ or ‘The camera is something I use as a tool,’ or ‘Would you take a look at this series that I made when I was going through this?’ ” Wray says.\u003c/p>\n\u003cp>A month after her book was published, Wray invited others to share their photography.\u003c/p>\n\u003cp>[contextly_sidebar id=”WfNbRppmh2sU9qobCx3ZqnyBne6LXToA”]\u003c/p>\n\u003cp>She started an Instagram account, \u003ca href=\"https://www.instagram.com/tootiredproject/\">@TooTiredProject\u003c/a>, “to help those struggling with depression by offering a place for collective creative expression,” and asked people to tag their images \u003ca href=\"https://www.instagram.com/explore/tags/tootiredproject/\">#TooTiredProject\u003c/a>.\u003c/p>\n\u003cp>One thing that surprised Wray was how many people have wanted to share their work — but didn’t know how or where to do it.\u003c/p>\n\u003cp>One photographer, Alison Crouse, says she had been working on a project, \u003ca href=\"https://www.instagram.com/devastationportraits/\">Devastation Portraits\u003c/a>, for years before Wray encouraged her to make it public.\u003c/p>\n\u003cp>“It feels like so much of the Internet is just small talk,” says Wray. “On the [Too Tired Project], people are going a little bit beyond that, and I think that’s a good place to be.”\u003c/p>\n\u003cp>[contextly_sidebar id=”CKvcvvKCkeSIhKz5DcPRSRXAplmP8LBa”]\u003c/p>\n\u003cp>The images are often accompanied by revealing captions that can be as striking as the photos themselves. Wray describes one such submission from photographer \u003ca href=\"https://www.instagram.com/filmnotdead/\">@Filmnotdead\u003c/a>.\u003c/p>\n\u003cp>She shared an image she made in bed, looking out at her son with a caption that reads: “Grateful I have people and animals who love me and depend upon me to get up every day. Still grieving my mother’s passing nearly 5 months later.”\u003c/p>\n\u003cp>Wray chokes up as she recalls it. “I can relate, Mama,” she says, “I’ve been there.”\u003c/p>\n\u003cp>She plans to continue sharing submissions on the account (she has received nearly 5,000 to date) and organizing meetups to foster community and connect people with mental health services through \u003ca href=\"https://openpathcollective.org/\">Open Path Psychotherapy Collective\u003c/a>, a nonprofit network that helps people find affordable care. The first meetup was in Santa Fe, N.M., in October, and there are more in the works. (Future events will announced at the \u003ca href=\"https://www.instagram.com/tootiredproject/\">Too Tired Project\u003c/a>.)\u003c/p>\n\u003cp>Ultimately, Wray plans to collaborate with \u003ca href=\"http://www.yoffypress.com/\">Yoffy Press\u003c/a>, the publisher of \u003cem>Too Tired for Sunshine, \u003c/em>to turn the Instagram submissions into a book, much like her own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But this time, the final product will feature multiple perspectives and experiences, driving home the epiphany she had after sharing her own images: “I’m not alone.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Channeling+The+Pain+Of+Depression+Into+Photography%2C+And+Finding+You+Are+Not+Alone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Tara Wray's book \u003cem>Too Tired for Sunshine\u003c/em> is a collection of images she made while struggling with depression. The work struck a chord with others, who are now sharing their images in an online project.",
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"title": "Channeling The Pain Of Depression Into Photography, And Finding You Are Not Alone | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a particularly difficult season of depression, photography was one of the tools \u003ca href=\"https://www.tarawray.net/\">Tara Wray\u003c/a> used to cope.\u003c/p>\n\u003cp>“Just forcing myself to get out of my head and using the camera to do that is, in a way, a therapeutic tool,” says Wray, a photographer and filmmaker based in central Vermont. “It’s like exercise: You don’t want to do it, you have to make yourself do it, and you feel better after you do.”\u003c/p>\n\u003cfigure id=\"attachment_13847888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/28_ttfs_tara_wray_slide-b65fde0890bdec8c7c5f0eaea95be366df1b7664-s800-c85-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-800x585.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-4_custom-95395127cc71378dbf915bf99cd9fe117c7e2b97-s800-c85-520x380.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>In July, she published \u003ca href=\"http://www.yoffypress.com/too-tired-for-sunshine/\">Too Tired for Sunshine\u003c/a>, a book of her photos from that period, taken between 2011 and 2018. Some of the images show a stark beauty, others a raw loneliness, and some capture hints that the world may be slightly off-kilter.\u003c/p>\n\u003cp>Photographically, Wray says she’s drawn to light, the honesty of dogs and “things that are humorous and maybe aren’t trying to be.” Making these images helped keep her buoyant.\u003c/p>\n\u003cfigure id=\"attachment_13847886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-800x599.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/22_ttfs_tara_wray-f79b92bf12318c058d5311ab78efbf0f551011ea-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>Having a camera functions as “a sort of protection, a buffer that gives me a reason to be somewhere,” she says. “It helps me move through an environment with a purpose when I might otherwise feel out of place.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And, like exercise, photography provides a kind of release. “When I’ve made what I think is a good picture, I can feel it, and everything else momentarily falls away.”\u003c/p>\n\u003cp>Through creative expression, Wray says she’s able to focus her “ruminating or obsessing” into “something bigger.”\u003c/p>\n\u003cfigure id=\"attachment_13847885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-800x540.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/3_ttfs_tara_wray_custom-c2eaf098f8efe261b79d1b819b027485dfb81fc6-s800-c85-768x518.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>“There were moments that I felt alone and isolated in a dark place, and I wondered if I would see the other side of it,” she says. “Photography has given me those moments back … I can now see them in a different light.”\u003c/p>\n\u003cp>At the same time, Wray stresses that photography isn’t her \u003cem>only \u003c/em>tool.\u003c/p>\n\u003cp>“You’ve gotta have a whole arsenal of things to deal with mental illness, and I try to do all the things I can to stay healthy,” she says, adding that she knows she is fortunate to have a supportive family and access to therapy, medication and good doctors.\u003c/p>\n\u003cfigure id=\"attachment_13847884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847884\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-800x600.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/5_ttfs_tara_wray-45b8a71a0fcef46753cab7ede6c1dba673a2ad30-s800-c85-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/26_ttfs_tara_wray_custom-f6672bbca02cbced62f94149fe3837c7bc431d5b-s800-c85-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>Wray is a self-described introvert and private person. For her, taking the photos was one thing, but the decision to publish a book about her experience with mental illness was another.\u003c/p>\n\u003cp>“I question that all the time,” she says. But her belief in the importance of breaking a stigma won out.\u003c/p>\n\u003cp>“These are things you wouldn’t necessarily talk about with the other parents at pickup at school, but here I am putting everything out there,” says Wray. “I’m using my own sort of shame and fear of sharing this with others to encourage others, to say, ‘It’s OK to do it.’ … There’s nothing to be ashamed about.”\u003c/p>\n\u003cfigure id=\"attachment_13847882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-800x592.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/too-tired-3-copy_custom-47083b7dd7325a378de021d80a85a45b11539c47-s800-c85-520x385.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13847881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-800x533.jpg\" alt=\"Tara Wray\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/61_ttfs_tara_wray_slide-2d22cd72ff783e4c80e3949713c196e1d722f3e1-s800-c85-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tara Wray\u003c/figcaption>\u003c/figure>\n\u003cp>“The act of sharing a photo — of being seen and understood by others — probably matters more than I would like to admit,” she says.\u003c/p>\n\u003cp>That connection, it turned out, went both ways. People who saw the book reached out to Wray to share their excitement and their own photography. She had struck a chord.\u003c/p>\n\u003cp>“People would say, ‘I make work similarly,’ or ‘The camera is something I use as a tool,’ or ‘Would you take a look at this series that I made when I was going through this?’ ” Wray says.\u003c/p>\n\u003cp>A month after her book was published, Wray invited others to share their photography.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>She started an Instagram account, \u003ca href=\"https://www.instagram.com/tootiredproject/\">@TooTiredProject\u003c/a>, “to help those struggling with depression by offering a place for collective creative expression,” and asked people to tag their images \u003ca href=\"https://www.instagram.com/explore/tags/tootiredproject/\">#TooTiredProject\u003c/a>.\u003c/p>\n\u003cp>One thing that surprised Wray was how many people have wanted to share their work — but didn’t know how or where to do it.\u003c/p>\n\u003cp>One photographer, Alison Crouse, says she had been working on a project, \u003ca href=\"https://www.instagram.com/devastationportraits/\">Devastation Portraits\u003c/a>, for years before Wray encouraged her to make it public.\u003c/p>\n\u003cp>“It feels like so much of the Internet is just small talk,” says Wray. “On the [Too Tired Project], people are going a little bit beyond that, and I think that’s a good place to be.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The images are often accompanied by revealing captions that can be as striking as the photos themselves. Wray describes one such submission from photographer \u003ca href=\"https://www.instagram.com/filmnotdead/\">@Filmnotdead\u003c/a>.\u003c/p>\n\u003cp>She shared an image she made in bed, looking out at her son with a caption that reads: “Grateful I have people and animals who love me and depend upon me to get up every day. Still grieving my mother’s passing nearly 5 months later.”\u003c/p>\n\u003cp>Wray chokes up as she recalls it. “I can relate, Mama,” she says, “I’ve been there.”\u003c/p>\n\u003cp>She plans to continue sharing submissions on the account (she has received nearly 5,000 to date) and organizing meetups to foster community and connect people with mental health services through \u003ca href=\"https://openpathcollective.org/\">Open Path Psychotherapy Collective\u003c/a>, a nonprofit network that helps people find affordable care. The first meetup was in Santa Fe, N.M., in October, and there are more in the works. (Future events will announced at the \u003ca href=\"https://www.instagram.com/tootiredproject/\">Too Tired Project\u003c/a>.)\u003c/p>\n\u003cp>Ultimately, Wray plans to collaborate with \u003ca href=\"http://www.yoffypress.com/\">Yoffy Press\u003c/a>, the publisher of \u003cem>Too Tired for Sunshine, \u003c/em>to turn the Instagram submissions into a book, much like her own.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But this time, the final product will feature multiple perspectives and experiences, driving home the epiphany she had after sharing her own images: “I’m not alone.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Channeling+The+Pain+Of+Depression+Into+Photography%2C+And+Finding+You+Are+Not+Alone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "sayhername-10-illustrated-tributes-to-nia-wilson-lighting-up-social-media",
"title": "#SayHerName: 10 Illustrated Tributes to Nia Wilson Lighting Up Social Media",
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"headTitle": "#SayHerName: 10 Illustrated Tributes to Nia Wilson Lighting Up Social Media | KQED",
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"content": "\u003cp>In the days since 18-year-old Nia Wilson was slain in Oakland, Bay Area artists have taken up their pens to honor her memory. With hand-drawn illustrations, digital collages and mixed media works, artists from Oakland and San Francisco have demanded justice and called to #SayHerName.\u003c/p>\n\u003cp>“Hearts are destroyed here in Oakland and all over,” write Victoria Emanuela and Caitie Metz, co-founders of feminist press \u003ca href=\"https://www.onbeinginyourbody.com/\">On Being In Your Body\u003c/a>. “Show up. Listen. Speak up. Don’t let your privilege sit on the sidelines and watch. Rest in power, Nia.”\u003c/p>\n\u003cp>Some have spoken up through their art, while others have taken to the streets. What unites them is an enduring need to honor Wilson, the teenage girl from Oakland \u003ca href=\"https://www.nytimes.com/2018/07/25/us/nia-wilson-bart-stabbing.html\" target=\"_blank\" rel=\"noopener\">with big dreams\u003c/a> who died while helping a stranger on the BART train.\u003c/p>\n\u003cp>Below, find 10 tributes to Nia Wilson by Bay Area artists.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/broobs.psd/\" target=\"_blank\" rel=\"noopener\">@broobs.psd\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837811 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/broobs-800.jpg\" alt=\"'Nia Wilson' by Ruben Guadalupe Marquez (@broobs.psd)\" width=\"800\" height=\"914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-160x183.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-768x877.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-240x274.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-375x428.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-520x594.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Nia Wilson’ by Ruben Guadalupe Marquez (@broobs.psd)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/girasoulll/\" target=\"_blank\" rel=\"noopener\">@girasoull\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/Blqd77jBZ4q/?taken-by=girasoulll\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837812 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/girasoul-800.jpg\" alt='\"Love, protect and honor Black womxn because we far too beautiful for this world. Rest easy young #angel 🙏🏽 I pray your assassination and the continual violence our peoples endure all over the diaspora be met with stronger and deeper rebellion and love🌻\" — Francis (@girasoulll)' width=\"800\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-768x657.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-375x321.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-520x445.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Love, protect and honor Black womxn because we far too beautiful for this world. Rest easy young #angel I pray your assassination and the continual violence our peoples endure all over the diaspora be met with stronger and deeper rebellion and love.” — Francis (@girasoulll)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/onbeinginyourbody/\" target=\"_blank\" rel=\"noopener\">@onbeinginyourbody\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837810\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/Bln_qQNnVHC/?taken-by=onbeinginyourbody\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837810 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800.jpg\" alt='\"Hearts are destroyed here in Oakland and all over. Show up. Listen. Speak up. Don’t let your privilege sit on the sidelines and watch. Rest in power, Nia. #justicefornia\" — @onbeinginyourbody feminist press' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Hearts are destroyed here in Oakland and all over. Show up. Listen. Speak up. Don’t let your privilege sit on the sidelines and watch. Rest in power, Nia. #justicefornia” — @onbeinginyourbody feminist press\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/lady_luuz/\" target=\"_blank\" rel=\"noopener\">@lady_luuz\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837817\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlrInvOAEEQ/?taken-by=alenamuseum\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837817 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/lady_luuz-800.jpg\" alt='\"Mainstream media’s continued dehumanization of Black Lives by criminalizing them is White Supremacy!\" — Alena Museum Artwork by @lady_luuz' width=\"800\" height=\"999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-375x468.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-520x649.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Mainstream media’s continued dehumanization of Black Lives by criminalizing them is White Supremacy!” — Ale\u003cem>ń\u003c/em>a Culture Collective (Artwork by @lady_luuz)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/dimebagdarla/\" target=\"_blank\" rel=\"noopener\">@dimebagdarla\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BllvEzPHkscht-FDEmPIPILIBzDZmTZ1Nbw5qM0/?taken-by=dimebagdarla\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/dimebagdarla-800.jpg\" alt='\"Made this for u nia.\" — @dimebagdarla' width=\"800\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-768x772.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-520x523.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Made this for u nia.” — @dimebagdarla\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/paintpimp215/\" target=\"_blank\" rel=\"noopener\">@paintpimp215\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlnFyGpAvNU/?taken-by=paintpimp215\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837808 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/paintpimp215-800.jpg\" alt=\"'Nia Wilson' by Jay Pee (@paintpimp215)\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-520x650.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">#niawilson #bart #bayarea #oakland #thisisamerica #artlife #copic #pen #blackgirlsmatter ‘Nia Wilson’ by Jay Pee (@paintpimp215)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/sarahgreenstudio/\" target=\"_blank\" rel=\"noopener\">@sarahgreenstudio\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837813\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlmZDibAMpB/?taken-by=sarahgreenstudio\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837813 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800.jpg\" alt=\""A caption doesn't really do it, but trying to help spread visibility for Nia, who was killed in a brutal racial hate crime Sunday night on the bay area's public transportation." — Sarah Green Studio \" width=\"800\" height=\"899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-160x180.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-768x863.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-240x270.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-375x421.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-520x584.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“A caption doesn’t really do it, but trying to help spread visibility for Nia, who was killed in a brutal racial hate crime Sunday night on the bay area’s public transportation.” — Sarah Green Studio\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/shespeakseasy/\" target=\"_blank\" rel=\"noopener\">@shespeakseasy\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837814\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlqX2DblN1q/?taken-by=shespeakseasy\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837814 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/shespeakeasy-800.jpg\" alt='\"The news of Nia Wilson’s death has been on my mind all week—it hit particularly close to home as MacArthur used to be my stop. This beautiful girl deserved to grow up and live a full life without the threat of white supremacy or hatred lurking over her shoulder. As her sister Letifah said, black women deserve to live freely, always.\" — Rachel Frankel (@shespeakeasy)' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“The news of Nia Wilson’s death has been on my mind all week—it hit particularly close to home as MacArthur used to be my stop. This beautiful girl deserved to grow up and live a full life without the threat of white supremacy or hatred lurking over her shoulder. As her sister Letifah said, black women deserve to live freely, always.” — Rachel Frankel (@shespeakseasy)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/lostboyillustrations/\" target=\"_blank\" rel=\"noopener\">@lostboyillustrations\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlmGkDnFE-f/?taken-by=lostboyillustrations\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837809 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800.jpg\" alt='\"No fucking words... #niawilson #SAYHERNAME #blacklivesmatter #oaklandlove\" — Fin Lee (@lostboyillustrations)' width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-520x650.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“No fucking words… #niawilson #SAYHERNAME #blacklivesmatter #oaklandlove” — Fin Lee (@lostboyillustrations)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/kaylanijuanita/\" target=\"_blank\" rel=\"noopener\">@kaylanijuanita\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/Blm0PGagZyh/?taken-by=kaylanijuanita\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837807 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800.jpg\" alt=\""I'm not sure how I feel about everything. I want to know why he did it, but I know there's nothing he can say that will justify any of it. I'm just angry. And I know that we won't know his motives for sure until after the interrogation and investigation, but I really deep in my soul KNOW it was a hate crime. Artwork by Kaylani Juanita (@kaylanijuanita)\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“I’m not sure how I feel about everything. I want to know why he did it, but I know there’s nothing he can say that will justify any of it. I’m just angry. And I know that we won’t know his motives for sure until after the interrogation and investigation, but I really deep in my soul KNOW it was a hate crime.” — Kaylani Juanita (@kaylanijuanita)\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Bay Area artists have taken up their pens to honor Nia Wilson in these 10 tributes.",
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"title": "#SayHerName: 10 Illustrated Tributes to Nia Wilson Lighting Up Social Media | KQED",
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"headline": "#SayHerName: 10 Illustrated Tributes to Nia Wilson Lighting Up Social Media",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the days since 18-year-old Nia Wilson was slain in Oakland, Bay Area artists have taken up their pens to honor her memory. With hand-drawn illustrations, digital collages and mixed media works, artists from Oakland and San Francisco have demanded justice and called to #SayHerName.\u003c/p>\n\u003cp>“Hearts are destroyed here in Oakland and all over,” write Victoria Emanuela and Caitie Metz, co-founders of feminist press \u003ca href=\"https://www.onbeinginyourbody.com/\">On Being In Your Body\u003c/a>. “Show up. Listen. Speak up. Don’t let your privilege sit on the sidelines and watch. Rest in power, Nia.”\u003c/p>\n\u003cp>Some have spoken up through their art, while others have taken to the streets. What unites them is an enduring need to honor Wilson, the teenage girl from Oakland \u003ca href=\"https://www.nytimes.com/2018/07/25/us/nia-wilson-bart-stabbing.html\" target=\"_blank\" rel=\"noopener\">with big dreams\u003c/a> who died while helping a stranger on the BART train.\u003c/p>\n\u003cp>Below, find 10 tributes to Nia Wilson by Bay Area artists.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/broobs.psd/\" target=\"_blank\" rel=\"noopener\">@broobs.psd\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837811 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/broobs-800.jpg\" alt=\"'Nia Wilson' by Ruben Guadalupe Marquez (@broobs.psd)\" width=\"800\" height=\"914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-160x183.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-768x877.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-240x274.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-375x428.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-520x594.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Nia Wilson’ by Ruben Guadalupe Marquez (@broobs.psd)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/girasoulll/\" target=\"_blank\" rel=\"noopener\">@girasoull\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/Blqd77jBZ4q/?taken-by=girasoulll\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837812 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/girasoul-800.jpg\" alt='\"Love, protect and honor Black womxn because we far too beautiful for this world. Rest easy young #angel 🙏🏽 I pray your assassination and the continual violence our peoples endure all over the diaspora be met with stronger and deeper rebellion and love🌻\" — Francis (@girasoulll)' width=\"800\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-768x657.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-375x321.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-520x445.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Love, protect and honor Black womxn because we far too beautiful for this world. Rest easy young #angel I pray your assassination and the continual violence our peoples endure all over the diaspora be met with stronger and deeper rebellion and love.” — Francis (@girasoulll)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/onbeinginyourbody/\" target=\"_blank\" rel=\"noopener\">@onbeinginyourbody\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837810\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/Bln_qQNnVHC/?taken-by=onbeinginyourbody\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837810 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800.jpg\" alt='\"Hearts are destroyed here in Oakland and all over. Show up. Listen. Speak up. Don’t let your privilege sit on the sidelines and watch. Rest in power, Nia. #justicefornia\" — @onbeinginyourbody feminist press' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Hearts are destroyed here in Oakland and all over. Show up. Listen. Speak up. Don’t let your privilege sit on the sidelines and watch. Rest in power, Nia. #justicefornia” — @onbeinginyourbody feminist press\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/lady_luuz/\" target=\"_blank\" rel=\"noopener\">@lady_luuz\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837817\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlrInvOAEEQ/?taken-by=alenamuseum\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837817 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/lady_luuz-800.jpg\" alt='\"Mainstream media’s continued dehumanization of Black Lives by criminalizing them is White Supremacy!\" — Alena Museum Artwork by @lady_luuz' width=\"800\" height=\"999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-375x468.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-520x649.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Mainstream media’s continued dehumanization of Black Lives by criminalizing them is White Supremacy!” — Ale\u003cem>ń\u003c/em>a Culture Collective (Artwork by @lady_luuz)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/dimebagdarla/\" target=\"_blank\" rel=\"noopener\">@dimebagdarla\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BllvEzPHkscht-FDEmPIPILIBzDZmTZ1Nbw5qM0/?taken-by=dimebagdarla\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/dimebagdarla-800.jpg\" alt='\"Made this for u nia.\" — @dimebagdarla' width=\"800\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-768x772.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-520x523.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Made this for u nia.” — @dimebagdarla\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/paintpimp215/\" target=\"_blank\" rel=\"noopener\">@paintpimp215\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlnFyGpAvNU/?taken-by=paintpimp215\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837808 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/paintpimp215-800.jpg\" alt=\"'Nia Wilson' by Jay Pee (@paintpimp215)\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-520x650.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">#niawilson #bart #bayarea #oakland #thisisamerica #artlife #copic #pen #blackgirlsmatter ‘Nia Wilson’ by Jay Pee (@paintpimp215)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/sarahgreenstudio/\" target=\"_blank\" rel=\"noopener\">@sarahgreenstudio\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837813\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlmZDibAMpB/?taken-by=sarahgreenstudio\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837813 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800.jpg\" alt=\""A caption doesn't really do it, but trying to help spread visibility for Nia, who was killed in a brutal racial hate crime Sunday night on the bay area's public transportation." — Sarah Green Studio \" width=\"800\" height=\"899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-160x180.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-768x863.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-240x270.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-375x421.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-520x584.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“A caption doesn’t really do it, but trying to help spread visibility for Nia, who was killed in a brutal racial hate crime Sunday night on the bay area’s public transportation.” — Sarah Green Studio\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/shespeakseasy/\" target=\"_blank\" rel=\"noopener\">@shespeakseasy\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837814\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlqX2DblN1q/?taken-by=shespeakseasy\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837814 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/shespeakeasy-800.jpg\" alt='\"The news of Nia Wilson’s death has been on my mind all week—it hit particularly close to home as MacArthur used to be my stop. This beautiful girl deserved to grow up and live a full life without the threat of white supremacy or hatred lurking over her shoulder. As her sister Letifah said, black women deserve to live freely, always.\" — Rachel Frankel (@shespeakeasy)' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“The news of Nia Wilson’s death has been on my mind all week—it hit particularly close to home as MacArthur used to be my stop. This beautiful girl deserved to grow up and live a full life without the threat of white supremacy or hatred lurking over her shoulder. As her sister Letifah said, black women deserve to live freely, always.” — Rachel Frankel (@shespeakseasy)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/lostboyillustrations/\" target=\"_blank\" rel=\"noopener\">@lostboyillustrations\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlmGkDnFE-f/?taken-by=lostboyillustrations\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837809 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800.jpg\" alt='\"No fucking words... #niawilson #SAYHERNAME #blacklivesmatter #oaklandlove\" — Fin Lee (@lostboyillustrations)' width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-520x650.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“No fucking words… #niawilson #SAYHERNAME #blacklivesmatter #oaklandlove” — Fin Lee (@lostboyillustrations)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/kaylanijuanita/\" target=\"_blank\" rel=\"noopener\">@kaylanijuanita\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/Blm0PGagZyh/?taken-by=kaylanijuanita\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837807 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800.jpg\" alt=\""I'm not sure how I feel about everything. I want to know why he did it, but I know there's nothing he can say that will justify any of it. I'm just angry. And I know that we won't know his motives for sure until after the interrogation and investigation, but I really deep in my soul KNOW it was a hate crime. Artwork by Kaylani Juanita (@kaylanijuanita)\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“I’m not sure how I feel about everything. I want to know why he did it, but I know there’s nothing he can say that will justify any of it. I’m just angry. And I know that we won’t know his motives for sure until after the interrogation and investigation, but I really deep in my soul KNOW it was a hate crime.” — Kaylani Juanita (@kaylanijuanita)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"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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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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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.",
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"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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"order": 9
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"id": "freakonomics-radio",
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"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/",
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},
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"id": "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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"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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"hidden-brain": {
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"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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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"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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"order": 15
},
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"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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"order": 18
},
"link": "/podcasts/jerrybrown",
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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/",
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"link": "/radio/program/latino-usa",
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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"
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},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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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"meta": {
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"source": "WaitWhat"
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"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",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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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"
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"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"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/",
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},
"link": "/radio/program/pbs-newshour",
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"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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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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