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"content": "\u003cp>Creating radical visibility — for artists of color, queer artists, undocumented artists — is hard work. And people doing hard work need to eat well. Over chilaquiles, a traditional Mexican dish of fried corn tortillas covered in sauce and queso fresco, \u003ca href=\"http://www.culturestrike.org/\" target=\"_blank\" rel=\"noopener\">CultureStrike\u003c/a> co-founder \u003ca href=\"http://favianna.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Favianna Rodriguez\u003c/a> and queer undocumented artist and cartoonist \u003ca href=\"http://juliosalgadoart.com/\" target=\"_blank\" rel=\"noopener\">Julio Salgado\u003c/a> dish out more than just a delicious meal.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>“The entire ecosystem of the arts does not have enough of us in it,” Rodriguez says of artists of color. “It’s not just about being represented, it’s about us having real power.”\u003c/p>\n\u003cp>For Salgado, whose work is informed by his various identities, but not defined by them, the current political climate makes him question his decision to be out — both as a queer man and an undocumented immigrant. But, he says, “The artist in me is like, ‘No.’”\u003c/p>\n\u003cp>“We definitely need to have stories — especially now,” Rodriguez says “of joy and pleasure and just our complicated humanity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So cook up some chilaquiles with your friends and loved ones, tell stories of joy and pleasure and buen provecho!\u003c/p>\n\u003ch3>Favi and Julio’s Chilaquiles and Kale Salad\u003c/h3>\n\u003cp>\u003cstrong>Cook time:\u003c/strong> 15 minutes\u003c/p>\n\u003cp>\u003cstrong>Ingredients:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>onions\u003c/li>\n\u003cli>corn tortillas\u003c/li>\n\u003cli>olive oil\u003c/li>\n\u003cli>tomato sauce\u003c/li>\n\u003cli>queso fresco\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Salad directions:\u003c/strong> Mix miso, olive oil, rice vinegar and soy sauce together for the dressing, add to kale salad and let it sit to soften the leaves.\u003c/p>\n\u003cp>\u003cstrong>Chilaquiles directions:\u003c/strong> Cut the onions and saute them in oil. Add more oil, cut the tortillas into quarters and fry them to taste. (Rodriguez recommends “a little soft and a little crispy.”) Add the tomato sauce (or red or green salsa, or mole), stir and serve. Top with queso fresco and as Rodriguez says, “Boom you got chilaquiles!”\u003c/p>\n\u003cp>\u003ci>Text by Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Watch more from the Represent Video Collection\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" class=\"hzframe\" src=\"https://huzzaz.com/proembed/represent-2?layout=grid&vpp=12&search=1&titleoverlay=1\" height=\"0\" width=\"100%\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\">\u003c/iframe>\u003cbr>\n[huzzaz_js]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Creating radical visibility — for artists of color, queer artists, undocumented artists — is hard work. And people doing hard work need to eat well. Over chilaquiles, a traditional Mexican dish of fried corn tortillas covered in sauce and queso fresco, \u003ca href=\"http://www.culturestrike.org/\" target=\"_blank\" rel=\"noopener\">CultureStrike\u003c/a> co-founder \u003ca href=\"http://favianna.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Favianna Rodriguez\u003c/a> and queer undocumented artist and cartoonist \u003ca href=\"http://juliosalgadoart.com/\" target=\"_blank\" rel=\"noopener\">Julio Salgado\u003c/a> dish out more than just a delicious meal.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>“The entire ecosystem of the arts does not have enough of us in it,” Rodriguez says of artists of color. “It’s not just about being represented, it’s about us having real power.”\u003c/p>\n\u003cp>For Salgado, whose work is informed by his various identities, but not defined by them, the current political climate makes him question his decision to be out — both as a queer man and an undocumented immigrant. But, he says, “The artist in me is like, ‘No.’”\u003c/p>\n\u003cp>“We definitely need to have stories — especially now,” Rodriguez says “of joy and pleasure and just our complicated humanity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So cook up some chilaquiles with your friends and loved ones, tell stories of joy and pleasure and buen provecho!\u003c/p>\n\u003ch3>Favi and Julio’s Chilaquiles and Kale Salad\u003c/h3>\n\u003cp>\u003cstrong>Cook time:\u003c/strong> 15 minutes\u003c/p>\n\u003cp>\u003cstrong>Ingredients:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>onions\u003c/li>\n\u003cli>corn tortillas\u003c/li>\n\u003cli>olive oil\u003c/li>\n\u003cli>tomato sauce\u003c/li>\n\u003cli>queso fresco\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Salad directions:\u003c/strong> Mix miso, olive oil, rice vinegar and soy sauce together for the dressing, add to kale salad and let it sit to soften the leaves.\u003c/p>\n\u003cp>\u003cstrong>Chilaquiles directions:\u003c/strong> Cut the onions and saute them in oil. Add more oil, cut the tortillas into quarters and fry them to taste. (Rodriguez recommends “a little soft and a little crispy.”) Add the tomato sauce (or red or green salsa, or mole), stir and serve. Top with queso fresco and as Rodriguez says, “Boom you got chilaquiles!”\u003c/p>\n\u003cp>\u003ci>Text by Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Watch more from the Represent Video Collection\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" class=\"hzframe\" src=\"https://huzzaz.com/proembed/represent-2?layout=grid&vpp=12&search=1&titleoverlay=1\" height=\"0\" width=\"100%\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\">\u003c/iframe>\u003cbr>\n[huzzaz_js]\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Star Amerasu Confronts Trauma With Beauty -- Specifically, Electro-Pop",
"headTitle": "Star Amerasu Confronts Trauma With Beauty — Specifically, Electro-Pop | KQED",
"content": "\u003cp>\u003ca href=\"https://www.facebook.com/staramerasusf/?pnref=lhc\" target=\"_blank\" rel=\"noopener\">Star Amerasu\u003c/a> greets me with a smile at the front door of her charmingly dilapidated South Berkeley home, a two-story house with an unmistakable communal living vibe. Things have calmed down in the year that she’s lived here, she says, but the place used to host quite a few ragers. The bra hanging from the front door’s metal grate is a dead giveaway.\u003c/p>\n\u003cp>Amerasu, whose long, turquoise hair hangs below the neckline of her grey dress, leads me down a winding staircase to her bedroom in the basement. A keyboard and sample pad are propped up against one corner of the room; a coat rack with colorful jackets and dresses occupies another. Incense wafts through the air from a nearby altar as we sit down on her bed.\u003c/p>\n\u003cp>“I’ve recently been doing a lot of self-care, staying in my little dungeon,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12803808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/star_flowergrass.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12803808 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/star_flowergrass-800x1000.jpg\" alt=\"star_flowergrass\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-1180x1475.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-960x1200.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-520x650.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass.jpg 1638w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Ryan Molanr\u003c/figcaption>\u003c/figure>\n\u003cp>In this sanctuary-like environment, Amerasu wrote the songs for \u003cem>Rebecca\u003c/em>, the gorgeous, self-produced electro-pop EP she’s releasing under the moniker Ah Mer Ah Su on Feb. 26. She’ll debut songs from it live at El Rio this Wednesday, March 1.\u003c/p>\n\u003cp>Since releasing her debut EP, \u003cem>Eclipsing\u003c/em>, in 2016, Amerasu’s been impossible to ignore in the Bay Area’s queer scene. She’s performed at popular parties Ships in the Night and Swagger Like Us, and played at the trans march during San Francisco Pride. Next month, she’s off to perform at Austin’s South By Southwest, and in April, she’ll travel to Melbourne, Australia to headline Transgenre, a festival spotlighting trans and gender non-conforming performers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vlK3VqVlWDQ\u003c/p>\n\u003cp>“It’s very rare that I do a performance that’s not for a queer event. I do think it would be interesting if I had more crossover,” she says, adding with a shrug that straight promoters rarely book her. “I think about like, ‘Who are the black trans women making indie electronic music in America?’ I know there’s more than just me, and we’re out there, but how do we bubble up and get recognition?”\u003c/p>\n\u003cp>Amerasu has always been a bit of a nomad. Her mom, whom she describes as an “Afrofuturist hippie,” moved their family often: as a child the musician lived in Florida, Oregon, Texas, Michigan, and Washington. As a young adult she enrolled in Cornish College of the Arts in Seattle to study musical theater, but dropped out after a semester and moved to Austin, Texas.\u003c/p>\n\u003cp>There, she began the process of transitioning. It didn’t take long to find out she was not in a supportive environment for trans people.\u003c/p>\n\u003cp>“My roommate was like, ‘I think what you’re doing is wrong. You have two weeks to leave the house,’” she says. “I had a little bit over $1,000 saved so I just moved [to the Bay Area].”\u003c/p>\n\u003cp>Amerasu is candid, in her music and in person, about the ways life’s challenges have shaped her. She tackles a variety of heavy themes in \u003cem>Rebecca\u003c/em>’s five tracks: Being a victim of sexual assault, turning to drugs to cope with a loved one’s death, and dealing with men who are secretive about their attraction to trans women. Her lyrics can be brutal in their honesty, but Amerasu also spins them into sparkly, lo-fi pop gems with her loop pedal and keyboard, juxtaposing her soulful voice with ebullient electronics. “Klonopin,” the EP’s lead single, does this masterfully: \u003cem>I want to forget my life / I want to forget my strife\u003c/em>, Amerasu sings in a falsetto, over trap high-hats and twinkly keys that evoke a toy piano.\u003c/p>\n\u003cp>She wrote “Klonopin,” she says, during a particularly rough period last year, when her friend, the trans writer Bryn Kelly, died of an apparent suicide.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/288870595″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“The only way that I could get through my day was I was taking [MDMA] at night and then feeling sad the next day and taking Klonopin and drinking — not really having good coping skills dealing with loss,” she says, her voice shaking slightly. “But it was really needed for me at the time. I was having a lot of anxiety around death.”\u003c/p>\n\u003cp>\u003cem>Rebecca\u003c/em> takes its name from Beyonce’s infamous “Becky with the good hair” line from “Sorry,” a track from\u003cem> Lemonade\u003c/em>. Since that album’s 2016 release, the name Becky has become synonymous with a Starbucks-sipping white woman oblivious to her own privilege.\u003c/p>\n\u003cp>“The backlash of a lot of white tears and the idea of ‘Becky’ being a racial slur — and the idea of white fragility at the detriment of black power — is something that comes to my mind when I think about it,” she says. “The idea behind it is ‘Becky’ is someone who thinks their life is so hard or white people are being oppressed. Which is not true.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6PZHb8FiMfY\u003c/p>\n\u003cp>Amerasu tackles this theme with humor on the track “Meg Ryan,” an ’80s-inspired synth-pop jam that calls to mind Cyndi Lauper or early Madonna. “\u003cem>I’m a white woman, I can do whatever I want\u003c/em>,” Amerasu talk-sings in a valley girl voice. In the track’s music video, she traipses around town in a blond wig, widening her eyes in an expression of faux doe-eyed innocence.\u003c/p>\n\u003cp>Amerasu remains an optimist, however, even as she takes on heavy life experiences in her music. When I ask her what she likes to do for fun, she smiles mischievously. “Party,” she says, simply.\u003c/p>\n\u003cp>“In the face of oppression, how else are we supposed to … ?” she trails off.\u003c/p>\n\u003cp>“There are other ways you can clear your mind and stuff, but I think it’s okay to drink or do drugs or whatever you f-cking need to push you through the day,” she says finally. “I think it’s a fallacy to think that there’s only one way to be.”\u003c/p>\n\u003cp>And then her face changes, as it does, from a serious and thoughtful expression to a sly grin. “I’m doing me.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Star Amerasu performs at 9pm on Wednesday, March 1 at \u003ca href=\"http://www.elriosf.com/\" target=\"_blank\" rel=\"noopener\">El Rio\u003c/a> in San Francisco. $5-$10 sliding scale; \u003ca href=\"https://www.facebook.com/events/1823437051238046/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "A fast-rising star of the Bay Area's queer scene, poised for crossover success, blends tough topics with party vibes on her new EP, 'Rebecca.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.facebook.com/staramerasusf/?pnref=lhc\" target=\"_blank\" rel=\"noopener\">Star Amerasu\u003c/a> greets me with a smile at the front door of her charmingly dilapidated South Berkeley home, a two-story house with an unmistakable communal living vibe. Things have calmed down in the year that she’s lived here, she says, but the place used to host quite a few ragers. The bra hanging from the front door’s metal grate is a dead giveaway.\u003c/p>\n\u003cp>Amerasu, whose long, turquoise hair hangs below the neckline of her grey dress, leads me down a winding staircase to her bedroom in the basement. A keyboard and sample pad are propped up against one corner of the room; a coat rack with colorful jackets and dresses occupies another. Incense wafts through the air from a nearby altar as we sit down on her bed.\u003c/p>\n\u003cp>“I’ve recently been doing a lot of self-care, staying in my little dungeon,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12803808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/star_flowergrass.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12803808 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/star_flowergrass-800x1000.jpg\" alt=\"star_flowergrass\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-1180x1475.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-960x1200.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass-520x650.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/star_flowergrass.jpg 1638w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Ryan Molanr\u003c/figcaption>\u003c/figure>\n\u003cp>In this sanctuary-like environment, Amerasu wrote the songs for \u003cem>Rebecca\u003c/em>, the gorgeous, self-produced electro-pop EP she’s releasing under the moniker Ah Mer Ah Su on Feb. 26. She’ll debut songs from it live at El Rio this Wednesday, March 1.\u003c/p>\n\u003cp>Since releasing her debut EP, \u003cem>Eclipsing\u003c/em>, in 2016, Amerasu’s been impossible to ignore in the Bay Area’s queer scene. She’s performed at popular parties Ships in the Night and Swagger Like Us, and played at the trans march during San Francisco Pride. Next month, she’s off to perform at Austin’s South By Southwest, and in April, she’ll travel to Melbourne, Australia to headline Transgenre, a festival spotlighting trans and gender non-conforming performers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/vlK3VqVlWDQ'\n title='//www.youtube.com/embed/vlK3VqVlWDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s very rare that I do a performance that’s not for a queer event. I do think it would be interesting if I had more crossover,” she says, adding with a shrug that straight promoters rarely book her. “I think about like, ‘Who are the black trans women making indie electronic music in America?’ I know there’s more than just me, and we’re out there, but how do we bubble up and get recognition?”\u003c/p>\n\u003cp>Amerasu has always been a bit of a nomad. Her mom, whom she describes as an “Afrofuturist hippie,” moved their family often: as a child the musician lived in Florida, Oregon, Texas, Michigan, and Washington. As a young adult she enrolled in Cornish College of the Arts in Seattle to study musical theater, but dropped out after a semester and moved to Austin, Texas.\u003c/p>\n\u003cp>There, she began the process of transitioning. It didn’t take long to find out she was not in a supportive environment for trans people.\u003c/p>\n\u003cp>“My roommate was like, ‘I think what you’re doing is wrong. You have two weeks to leave the house,’” she says. “I had a little bit over $1,000 saved so I just moved [to the Bay Area].”\u003c/p>\n\u003cp>Amerasu is candid, in her music and in person, about the ways life’s challenges have shaped her. She tackles a variety of heavy themes in \u003cem>Rebecca\u003c/em>’s five tracks: Being a victim of sexual assault, turning to drugs to cope with a loved one’s death, and dealing with men who are secretive about their attraction to trans women. Her lyrics can be brutal in their honesty, but Amerasu also spins them into sparkly, lo-fi pop gems with her loop pedal and keyboard, juxtaposing her soulful voice with ebullient electronics. “Klonopin,” the EP’s lead single, does this masterfully: \u003cem>I want to forget my life / I want to forget my strife\u003c/em>, Amerasu sings in a falsetto, over trap high-hats and twinkly keys that evoke a toy piano.\u003c/p>\n\u003cp>She wrote “Klonopin,” she says, during a particularly rough period last year, when her friend, the trans writer Bryn Kelly, died of an apparent suicide.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/288870595″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/288870595″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“The only way that I could get through my day was I was taking [MDMA] at night and then feeling sad the next day and taking Klonopin and drinking — not really having good coping skills dealing with loss,” she says, her voice shaking slightly. “But it was really needed for me at the time. I was having a lot of anxiety around death.”\u003c/p>\n\u003cp>\u003cem>Rebecca\u003c/em> takes its name from Beyonce’s infamous “Becky with the good hair” line from “Sorry,” a track from\u003cem> Lemonade\u003c/em>. Since that album’s 2016 release, the name Becky has become synonymous with a Starbucks-sipping white woman oblivious to her own privilege.\u003c/p>\n\u003cp>“The backlash of a lot of white tears and the idea of ‘Becky’ being a racial slur — and the idea of white fragility at the detriment of black power — is something that comes to my mind when I think about it,” she says. “The idea behind it is ‘Becky’ is someone who thinks their life is so hard or white people are being oppressed. Which is not true.”\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/6PZHb8FiMfY'\n title='//www.youtube.com/embed/6PZHb8FiMfY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Amerasu tackles this theme with humor on the track “Meg Ryan,” an ’80s-inspired synth-pop jam that calls to mind Cyndi Lauper or early Madonna. “\u003cem>I’m a white woman, I can do whatever I want\u003c/em>,” Amerasu talk-sings in a valley girl voice. In the track’s music video, she traipses around town in a blond wig, widening her eyes in an expression of faux doe-eyed innocence.\u003c/p>\n\u003cp>Amerasu remains an optimist, however, even as she takes on heavy life experiences in her music. When I ask her what she likes to do for fun, she smiles mischievously. “Party,” she says, simply.\u003c/p>\n\u003cp>“In the face of oppression, how else are we supposed to … ?” she trails off.\u003c/p>\n\u003cp>“There are other ways you can clear your mind and stuff, but I think it’s okay to drink or do drugs or whatever you f-cking need to push you through the day,” she says finally. “I think it’s a fallacy to think that there’s only one way to be.”\u003c/p>\n\u003cp>And then her face changes, as it does, from a serious and thoughtful expression to a sly grin. “I’m doing me.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Star Amerasu performs at 9pm on Wednesday, March 1 at \u003ca href=\"http://www.elriosf.com/\" target=\"_blank\" rel=\"noopener\">El Rio\u003c/a> in San Francisco. $5-$10 sliding scale; \u003ca href=\"https://www.facebook.com/events/1823437051238046/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This video is a co-production between KQED and Yerba Buena Center for the Arts.\u003c/span>\u003c/i>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">For dancer and queer immigrant Gerald Casel, the body is a recording device — one that asks: Can we design freedom? And if so, what do we do with it?\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://www.geraldcasel.com/\">Gerald Casel\u003c/a> is a queer immigrant artist-activist and educator who creates and presents dances that ask questions about human beings — who they are, what they do and how their actions affect the world in which they live. He experiences the body as a recording device that documents feelings, emotions and states from an entire lifetime of experiences. He is deeply curious about how habituation, oppression and identity play out in movement, dance and the human form.\u003c/p>\n\u003cp>Gerald was born in Manila and raised in Oakland and San Jose. During high school he devoured music videos and movies, looking to learn more about movement and dance, and went on to graduate from the Juilliard School. He now teaches at national dance festivals like the American Dance Festival and Mountain Dance Fest, and continues his work with the next generation of Bay Area dancers as an \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">Assistant Professor of Dance\u003c/a> at University of California at Santa Cruz.\u003c/p>\n\u003cp>\u003cstrong>What is your idea of freedom?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Freedom means freedom for everyone; if someone is unfairly oppressed, it is a reflection on all of us and we have to do everything we can to undo that oppression. When it arrives, we’ll know, but until then, we have work to do. Acknowledging inequity in all dimensions (in our interactions with one other as well as in institutionalized systems of oppression) is where we start to dismantle what prevents the arrival of freedom.\u003c/p>\n\u003cp>\u003cstrong> What inspires you to dance?\u003c/strong>\u003c/p>\n\u003cp>Dancing connects my analytic mind with my feeling body (intuition/sensation/empathy). It provides me with structure and rigor and can also free me from self-imposed and societal constraints. Dancing gives my body permission to complicate what I know and to ask questions that scare me.\u003c/p>\n\u003cp>\u003cstrong>What is the most challenging part of being a dancer?\u003c/strong>\u003c/p>\n\u003cp>Physical restrictions and habituation.\u003c/p>\n\u003cp>\u003cstrong>What thread runs through your dance? \u003c/strong>\u003c/p>\n\u003cp>The search for meaning in my relationships with ideas, other people, and nature — it always starts with the body.\u003c/p>\n\u003cp>\u003cstrong> Tell us about the dance classes you teach.\u003c/strong>\u003c/p>\n\u003cp>My classes are like movement meditations; they are body-friendly and rigorously structured. I use somatic techniques — physical practices that connect the mind and body through a deeply personal sense of discernment to release the dancer from operating on a set of fixed and imposed aesthetic values. I focus on function and mechanics rather than replication of beauty.\u003c/p>\n\u003cp>\u003cstrong>Can you tell me about your residency at \u003ca href=\"http://www.odcdance.org/theater_innerpage.php?linkid=11&categid=77&subcategid=181\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>It is a three-year residency that provides artistic and administrative mentoring, production support, and on a more personal level (since my work has not been critically well-received in the Bay Area), a certain sense of validation and legitimacy. It has provided a “home” for my company and our creative experiments together.\u003c/p>\n\u003cp>\u003cstrong>Can you tell me about your classes at \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">University of California at Santa Cruz\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>I am the \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">Assistant Professor of Dance\u003c/a> at University of California at Santa Cruz. I teach several levels of somatic-based modern dance technique, choreography, and improvisation, as well as directing the annual student-run dance concert. I also create original work on my students where they can practice working on the creation of a devised piece of choreography while developing performance skills and practical experience around production, publicity, and presentation. I also get to work with graduate students on refining their thesis projects.\u003c/p>\n\u003cp>\u003cstrong>Who are your mentors?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://petron.io/\" target=\"_blank\" rel=\"noopener\">Stephen Petronio\u003c/a>, Janet Lilly, \u003ca href=\"http://www.mjdc.org/\" target=\"_blank\" rel=\"noopener\">Margaret Jenkins\u003c/a>, \u003ca href=\"https://www.odcdance.org/images/press/ODC%20Theater%20Director%20PR2012031210342403.pdf\" target=\"_blank\" rel=\"noopener\">Christy Bolingbroke\u003c/a> and \u003ca href=\"http://theater.ucsc.edu/faculty/ted-warburton\" target=\"_blank\" rel=\"noopener\">Ted Warburton\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong> Where can we see you perform next?\u003c/strong>\u003c/p>\n\u003cp>Oct. 14–15: \u003cem>Ten Artists Respond to Locus\u003c/em> with \u003ca href=\"http://www.hopemohr.org/\" target=\"_blank\" rel=\"noopener\">Hope Mohr Dance\u003c/a>.\u003c/p>\n\u003cp>Oct. 22: \u003cem>Wrecking \u003c/em>with \u003ca href=\"http://www.funschdance.org/\" target=\"_blank\" rel=\"noopener\">Christy Funsch Dance Experience\u003c/a>.\u003c/p>\n\u003cp>Dec. 1: \u003cem>Bodies Matter\u003c/em>, at California State University Long Beach with \u003ca href=\"https://web.csulb.edu/depts/dance/faculty_staff/full_time_faculty/johnson_keith/index.html\" target=\"_blank\" rel=\"noopener\">Keith Johnson \u003c/a>.\u003c/p>\n\u003cp>My company, GERALDCASELDANCE will present our home season and a preview of two new works.\u003c/p>\n\u003cp>\u003cstrong> What’s on the horizon? \u003c/strong>\u003c/p>\n\u003cp>This week I’m presenting a paper on \u003ca href=\"https://thetripledogdare.wordpress.com/2015/12/14/choreography-as-a-colonizing-force-gerald-casels-splinters-in-our-ankles-by-marie-tollon/\" target=\"_blank\" rel=\"noopener\">choreography as a colonizing force\u003c/a> at NDEO (National Dance Education Organization) in Washington D.C. I’ll also continue developing my next work, \u003cem>Cover Your Mouth When You Smile\u003c/em>, in collaboration with Na-ye Kim (Seoul/Hong Kong) and \u003ca href=\"http://www.peilingkaodances.com/\" target=\"_blank\" rel=\"noopener\">Peiling Kao\u003c/a> (Taiwan/Honolulu).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.geraldcasel.com/\">\u003cspan style=\"font-weight: 400\">Gerald Casel\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is a 2016 YBCA Fellow. \u003c/span>\u003ca href=\"https://www.ybca.org/ybca-fellows\">\u003cspan style=\"font-weight: 400\">YBCA Fellows\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> serves as a cultural incubator — bringing together creative citizens from across the Bay Area for a yearlong, facilitated process of inquiry, dialogue and project generation. Each cohort responds to a bold question that YBCA is pursuing, such as: What does equity look like? Can we design freedom? Why citizenship? Through their work, YBCA Fellows seek to inspire community transformation and drive new possibilities into the public imagination. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Launched in April 2016, the “Freedom” cohort of YBCA Fellows is responding to the question: Can we design freedom? This diverse group of citizens includes artists, economists, activists, software developers, architects, professors, designers, and scientists. \u003c/span>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This video is a co-production between KQED and Yerba Buena Center for the Arts.\u003c/span>\u003c/i>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">For dancer and queer immigrant Gerald Casel, the body is a recording device — one that asks: Can we design freedom? And if so, what do we do with it?\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://www.geraldcasel.com/\">Gerald Casel\u003c/a> is a queer immigrant artist-activist and educator who creates and presents dances that ask questions about human beings — who they are, what they do and how their actions affect the world in which they live. He experiences the body as a recording device that documents feelings, emotions and states from an entire lifetime of experiences. He is deeply curious about how habituation, oppression and identity play out in movement, dance and the human form.\u003c/p>\n\u003cp>Gerald was born in Manila and raised in Oakland and San Jose. During high school he devoured music videos and movies, looking to learn more about movement and dance, and went on to graduate from the Juilliard School. He now teaches at national dance festivals like the American Dance Festival and Mountain Dance Fest, and continues his work with the next generation of Bay Area dancers as an \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">Assistant Professor of Dance\u003c/a> at University of California at Santa Cruz.\u003c/p>\n\u003cp>\u003cstrong>What is your idea of freedom?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Freedom means freedom for everyone; if someone is unfairly oppressed, it is a reflection on all of us and we have to do everything we can to undo that oppression. When it arrives, we’ll know, but until then, we have work to do. Acknowledging inequity in all dimensions (in our interactions with one other as well as in institutionalized systems of oppression) is where we start to dismantle what prevents the arrival of freedom.\u003c/p>\n\u003cp>\u003cstrong> What inspires you to dance?\u003c/strong>\u003c/p>\n\u003cp>Dancing connects my analytic mind with my feeling body (intuition/sensation/empathy). It provides me with structure and rigor and can also free me from self-imposed and societal constraints. Dancing gives my body permission to complicate what I know and to ask questions that scare me.\u003c/p>\n\u003cp>\u003cstrong>What is the most challenging part of being a dancer?\u003c/strong>\u003c/p>\n\u003cp>Physical restrictions and habituation.\u003c/p>\n\u003cp>\u003cstrong>What thread runs through your dance? \u003c/strong>\u003c/p>\n\u003cp>The search for meaning in my relationships with ideas, other people, and nature — it always starts with the body.\u003c/p>\n\u003cp>\u003cstrong> Tell us about the dance classes you teach.\u003c/strong>\u003c/p>\n\u003cp>My classes are like movement meditations; they are body-friendly and rigorously structured. I use somatic techniques — physical practices that connect the mind and body through a deeply personal sense of discernment to release the dancer from operating on a set of fixed and imposed aesthetic values. I focus on function and mechanics rather than replication of beauty.\u003c/p>\n\u003cp>\u003cstrong>Can you tell me about your residency at \u003ca href=\"http://www.odcdance.org/theater_innerpage.php?linkid=11&categid=77&subcategid=181\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>It is a three-year residency that provides artistic and administrative mentoring, production support, and on a more personal level (since my work has not been critically well-received in the Bay Area), a certain sense of validation and legitimacy. It has provided a “home” for my company and our creative experiments together.\u003c/p>\n\u003cp>\u003cstrong>Can you tell me about your classes at \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">University of California at Santa Cruz\u003c/a>?\u003c/strong>\u003c/p>\n\u003cp>I am the \u003ca href=\"http://theater.ucsc.edu/dance\" target=\"_blank\" rel=\"noopener\">Assistant Professor of Dance\u003c/a> at University of California at Santa Cruz. I teach several levels of somatic-based modern dance technique, choreography, and improvisation, as well as directing the annual student-run dance concert. I also create original work on my students where they can practice working on the creation of a devised piece of choreography while developing performance skills and practical experience around production, publicity, and presentation. I also get to work with graduate students on refining their thesis projects.\u003c/p>\n\u003cp>\u003cstrong>Who are your mentors?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://petron.io/\" target=\"_blank\" rel=\"noopener\">Stephen Petronio\u003c/a>, Janet Lilly, \u003ca href=\"http://www.mjdc.org/\" target=\"_blank\" rel=\"noopener\">Margaret Jenkins\u003c/a>, \u003ca href=\"https://www.odcdance.org/images/press/ODC%20Theater%20Director%20PR2012031210342403.pdf\" target=\"_blank\" rel=\"noopener\">Christy Bolingbroke\u003c/a> and \u003ca href=\"http://theater.ucsc.edu/faculty/ted-warburton\" target=\"_blank\" rel=\"noopener\">Ted Warburton\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong> Where can we see you perform next?\u003c/strong>\u003c/p>\n\u003cp>Oct. 14–15: \u003cem>Ten Artists Respond to Locus\u003c/em> with \u003ca href=\"http://www.hopemohr.org/\" target=\"_blank\" rel=\"noopener\">Hope Mohr Dance\u003c/a>.\u003c/p>\n\u003cp>Oct. 22: \u003cem>Wrecking \u003c/em>with \u003ca href=\"http://www.funschdance.org/\" target=\"_blank\" rel=\"noopener\">Christy Funsch Dance Experience\u003c/a>.\u003c/p>\n\u003cp>Dec. 1: \u003cem>Bodies Matter\u003c/em>, at California State University Long Beach with \u003ca href=\"https://web.csulb.edu/depts/dance/faculty_staff/full_time_faculty/johnson_keith/index.html\" target=\"_blank\" rel=\"noopener\">Keith Johnson \u003c/a>.\u003c/p>\n\u003cp>My company, GERALDCASELDANCE will present our home season and a preview of two new works.\u003c/p>\n\u003cp>\u003cstrong> What’s on the horizon? \u003c/strong>\u003c/p>\n\u003cp>This week I’m presenting a paper on \u003ca href=\"https://thetripledogdare.wordpress.com/2015/12/14/choreography-as-a-colonizing-force-gerald-casels-splinters-in-our-ankles-by-marie-tollon/\" target=\"_blank\" rel=\"noopener\">choreography as a colonizing force\u003c/a> at NDEO (National Dance Education Organization) in Washington D.C. I’ll also continue developing my next work, \u003cem>Cover Your Mouth When You Smile\u003c/em>, in collaboration with Na-ye Kim (Seoul/Hong Kong) and \u003ca href=\"http://www.peilingkaodances.com/\" target=\"_blank\" rel=\"noopener\">Peiling Kao\u003c/a> (Taiwan/Honolulu).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.geraldcasel.com/\">\u003cspan style=\"font-weight: 400\">Gerald Casel\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is a 2016 YBCA Fellow. \u003c/span>\u003ca href=\"https://www.ybca.org/ybca-fellows\">\u003cspan style=\"font-weight: 400\">YBCA Fellows\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> serves as a cultural incubator — bringing together creative citizens from across the Bay Area for a yearlong, facilitated process of inquiry, dialogue and project generation. Each cohort responds to a bold question that YBCA is pursuing, such as: What does equity look like? Can we design freedom? Why citizenship? Through their work, YBCA Fellows seek to inspire community transformation and drive new possibilities into the public imagination. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Launched in April 2016, the “Freedom” cohort of YBCA Fellows is responding to the question: Can we design freedom? This diverse group of citizens includes artists, economists, activists, software developers, architects, professors, designers, and scientists. \u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>‘Backstage Heroes’ is a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the SF Weekly — where her \u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">‘Music Heroes’ \u003c/a>series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>“Everything, if you look at it in an abstract way, is drag,” said San Francisco drag legend Heklina\u003ca href=\"http://thoughtcatalog.com/michael-podell/2014/03/an-exclusive-interview-with-heklina-drag-revolutionary-and-legend/\" target=\"_blank\" rel=\"noopener\"> in an interview\u003c/a> last year. “Every time I go downtown during the day and see all the people in business attire, I think of it as drag.”\u003c/p>\n\u003cp>When I first read that interview, I thought of the flip side of Heklina’s statement: In an abstract way, what \u003cem>isn’t\u003c/em> drag? I was reminded of the phrase “residual self-image,” a term taken from \u003cem>The Matrix\u003c/em>’s eerie digital ’90s otherworld, in which everyone appears exactly as they wish to appear. The characters in it dress way better than their real-world counterparts.\u003c/p>\n\u003cp>In a sense, I think Heklina has just applied a duality to us all. Your false, fun, ephemeral sense of self, or the mundane one in a baggy sweater — which is the real one? Is Mark Zuckerberg in drag? What is “real” anyway? Drag queens think about these questions all the time: the definition of “realness,” and whether it’s even desirable.\u003c/p>\n\u003cp>For our interview, I’ve come to a nightclub during the day, entering a cold hotspot to talk to the offstage and “out-of-face” version of an enterprising queen. My first question is who it is I’m interviewing, exactly, at first guessing the male-sounding Icelandic birth name that’s easy to find online.\u003c/p>\n\u003cfigure id=\"attachment_11161568\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11161568 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/IMG_3788-400x300.jpg\" alt='Heklina in \"boy drag' width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_3788-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_3788-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_3788-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_3788-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_3788-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_3788-960x720.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Heklina in “boy drag.” Photo by John Whelan.\u003c/figcaption>\u003c/figure>\n\u003cp>I’m wrong. I’m interviewing Heklina, who has a complicated (or would that be a simple?) relationship between the person onstage and the person who’s bartending tonight, wigless. I press the division further with a question about what “you” do to support “her.” I’m wrong again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She’s not a her — it’s just me,” says Heklina. “Everyone calls me Heklina, whether I’m in boy drag or not.” I begin to understand: Although different in presentation, today’s male-bodied person in gym shoes and the glittering persona out on the boards are one and the same.\u003c/p>\n\u003cp>Aside from these complexities, the person I’m interviewing is in some ways a bar owner first, and a busy one. Heklina-in-boy-drag co-owns \u003ca href=\"http://sfoasis.com/#prettyPhoto\" target=\"_blank\" rel=\"noopener\">Oasis\u003c/a>, a 6,000 square-foot theater, cabaret, and club on 11th and Folsom in San Francisco. She does booking, she manages, she produces, and she’s a performer, of course. She no longer staples posters onto telephone poles or shops for outfits, as she did for a dozen-plus years at her long-running punk-at-heart drag night Trannyshack.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=61qbUimYg9g\u003c/p>\n\u003cp>“These are all the things that people don’t see,” she tells me, “all the things that have to get done.” Today, she employs a team of the unseen: dressmaker Tria Connell, social media person Daniel Adams, stage manager Bobby Barber, poster-poster Gareth Gooch, and wig designer Robert Fernandez. If it’s true, as she says, that “I’m in it for the money! I’m one of the few people who’s able to make a living entirely off doing drag and performing,” then she’s also made sure that Oasis functions as the rare rising tide that actually lifts other boats.\u003c/p>\n\u003cp>The first time I visited the newly opened Oasis last year, a friend grabbed me by the elbow and guided me through the wing curtains at the side of the stage. I resisted, slightly, not sure I was allowed back there. But of course I wanted to see what the dressing room looked like, and I was amazed at what I saw.\u003c/p>\n\u003cp>“Somebody can literally come in through the back entrance, go backstage, get ready, and come onstage, never having been seen,” Heklina tells me. “It’s totally self-contained. We have a sink back there, we have a bathroom … We just got brand-new mirrors put in there, because the other ones were kind of too high, you couldn’t really get a full-body look.” It’s a magnificent palace of a backstage, its mirrors surrounded by large, soft, kind incandescent bulbs, its doorways wide enough for wheeled racks. It’s beloved from here to New York City, in fact.\u003c/p>\n\u003cfigure id=\"attachment_11161569\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11161569 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/wmheklina3gloss-400x621.jpg\" alt=\"Heklina in not-boy-drag. \" width=\"400\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/wmheklina3gloss-400x621.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/wmheklina3gloss-386x600.jpg 386w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/wmheklina3gloss-768x1192.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/wmheklina3gloss-760x1180.jpg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/wmheklina3gloss-1920x2981.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/wmheklina3gloss-1180x1832.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/wmheklina3gloss-960x1491.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Heklina in not-boy-drag. Photo by Jose Guzman-Colon.\u003c/figcaption>\u003c/figure>\n\u003cp>“It is very clear that Oasis’s dressing room was designed by performers,” says Lady Bunny, New York’s star of stage and screen, who performed her cabaret show “Pig in a Wig” at Oasis this past November. “So often, that is not the case and we find ourselves several floors away from the stage. Which doesn’t make a quick change very easy! Oasis’s backstage is spacious, clean and has plenty of well-lit mirrors to accommodate either a large cast or a solo performer like myself who’s fond of massive coiffures.” (It couldn’t fix everything, sadly: “I didn’t see a steamer back there, though. So I was forced to go onstage with my face covered in wrinkles. Humiliating!”)\u003c/p>\n\u003cp>“Backstage” continues to fascinate me, as a physical space as well as an abstract idea. We all need private space in which to compose our exact selves, don’t we? Whether those selves are the real ones or the fancy ones, whether we are drag queens, mere life-sized women, or software developers. But how does Heklina, and how should we, negotiate between onstage and off? After all, as \u003ca href=\"http://ladybunny.net/\" target=\"_blank\" rel=\"noopener\">Lady Bunny\u003c/a> pointed out, sometimes we don’t get enough time outside the public eye, or maybe there’s something about ourselves that doesn’t, and never will, square with our residual self-image.\u003c/p>\n\u003cp>In the eyes of a queen named after an active stratovolcano once known as the “Gateway to Hell,” it’s actually fairly simple. “When I put on a wig and all that stuff,” Heklina says, “it’s just an extension of me. My personality gets amplified a little bit.”\u003c/p>\n\u003cp>This is complicated somewhat as we walk outside, and she casts a business-owner’s eye, a practiced eye, over the sidewalk, slightly annoyed in advance by whatever fresh hell this afternoon may bring. As if on cue, a giant piece of cardboard appears, blocking the sidewalk. Heklina in boy drag is on that sh*t, hauling the big awkward piece of garbage into the alleyway with her bare hands.\u003c/p>\n\u003cp>I laugh and wave goodbye, and she yells over her shoulder the name of the magic spell that makes people see you the way you wish to be seen: “The glamour!”\u003c/p>\n\u003cp>\u003cem>Heklina will host a New Year’s Eve show (which doubles as the club’s first anniversary party) at Oasis this Dec. 31 at 9 p.m. Tickets are $30 and up; visit \u003ca href=\"http://sfoasis.com/\" target=\"_blank\" rel=\"noopener\">sfoasis.com\u003c/a> for details. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>‘Backstage Heroes’ is a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the SF Weekly — where her \u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">‘Music Heroes’ \u003c/a>series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>“Everything, if you look at it in an abstract way, is drag,” said San Francisco drag legend Heklina\u003ca href=\"http://thoughtcatalog.com/michael-podell/2014/03/an-exclusive-interview-with-heklina-drag-revolutionary-and-legend/\" target=\"_blank\" rel=\"noopener\"> in an interview\u003c/a> last year. “Every time I go downtown during the day and see all the people in business attire, I think of it as drag.”\u003c/p>\n\u003cp>When I first read that interview, I thought of the flip side of Heklina’s statement: In an abstract way, what \u003cem>isn’t\u003c/em> drag? I was reminded of the phrase “residual self-image,” a term taken from \u003cem>The Matrix\u003c/em>’s eerie digital ’90s otherworld, in which everyone appears exactly as they wish to appear. The characters in it dress way better than their real-world counterparts.\u003c/p>\n\u003cp>In a sense, I think Heklina has just applied a duality to us all. Your false, fun, ephemeral sense of self, or the mundane one in a baggy sweater — which is the real one? Is Mark Zuckerberg in drag? What is “real” anyway? Drag queens think about these questions all the time: the definition of “realness,” and whether it’s even desirable.\u003c/p>\n\u003cp>For our interview, I’ve come to a nightclub during the day, entering a cold hotspot to talk to the offstage and “out-of-face” version of an enterprising queen. My first question is who it is I’m interviewing, exactly, at first guessing the male-sounding Icelandic birth name that’s easy to find online.\u003c/p>\n\u003cfigure id=\"attachment_11161568\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11161568 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/IMG_3788-400x300.jpg\" alt='Heklina in \"boy drag' width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_3788-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_3788-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_3788-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_3788-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_3788-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/IMG_3788-960x720.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Heklina in “boy drag.” Photo by John Whelan.\u003c/figcaption>\u003c/figure>\n\u003cp>I’m wrong. I’m interviewing Heklina, who has a complicated (or would that be a simple?) relationship between the person onstage and the person who’s bartending tonight, wigless. I press the division further with a question about what “you” do to support “her.” I’m wrong again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She’s not a her — it’s just me,” says Heklina. “Everyone calls me Heklina, whether I’m in boy drag or not.” I begin to understand: Although different in presentation, today’s male-bodied person in gym shoes and the glittering persona out on the boards are one and the same.\u003c/p>\n\u003cp>Aside from these complexities, the person I’m interviewing is in some ways a bar owner first, and a busy one. Heklina-in-boy-drag co-owns \u003ca href=\"http://sfoasis.com/#prettyPhoto\" target=\"_blank\" rel=\"noopener\">Oasis\u003c/a>, a 6,000 square-foot theater, cabaret, and club on 11th and Folsom in San Francisco. She does booking, she manages, she produces, and she’s a performer, of course. She no longer staples posters onto telephone poles or shops for outfits, as she did for a dozen-plus years at her long-running punk-at-heart drag night Trannyshack.\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/61qbUimYg9g'\n title='//www.youtube.com/embed/61qbUimYg9g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“These are all the things that people don’t see,” she tells me, “all the things that have to get done.” Today, she employs a team of the unseen: dressmaker Tria Connell, social media person Daniel Adams, stage manager Bobby Barber, poster-poster Gareth Gooch, and wig designer Robert Fernandez. If it’s true, as she says, that “I’m in it for the money! I’m one of the few people who’s able to make a living entirely off doing drag and performing,” then she’s also made sure that Oasis functions as the rare rising tide that actually lifts other boats.\u003c/p>\n\u003cp>The first time I visited the newly opened Oasis last year, a friend grabbed me by the elbow and guided me through the wing curtains at the side of the stage. I resisted, slightly, not sure I was allowed back there. But of course I wanted to see what the dressing room looked like, and I was amazed at what I saw.\u003c/p>\n\u003cp>“Somebody can literally come in through the back entrance, go backstage, get ready, and come onstage, never having been seen,” Heklina tells me. “It’s totally self-contained. We have a sink back there, we have a bathroom … We just got brand-new mirrors put in there, because the other ones were kind of too high, you couldn’t really get a full-body look.” It’s a magnificent palace of a backstage, its mirrors surrounded by large, soft, kind incandescent bulbs, its doorways wide enough for wheeled racks. It’s beloved from here to New York City, in fact.\u003c/p>\n\u003cfigure id=\"attachment_11161569\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11161569 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/wmheklina3gloss-400x621.jpg\" alt=\"Heklina in not-boy-drag. \" width=\"400\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/wmheklina3gloss-400x621.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/wmheklina3gloss-386x600.jpg 386w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/wmheklina3gloss-768x1192.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/wmheklina3gloss-760x1180.jpg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/wmheklina3gloss-1920x2981.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/wmheklina3gloss-1180x1832.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/wmheklina3gloss-960x1491.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Heklina in not-boy-drag. Photo by Jose Guzman-Colon.\u003c/figcaption>\u003c/figure>\n\u003cp>“It is very clear that Oasis’s dressing room was designed by performers,” says Lady Bunny, New York’s star of stage and screen, who performed her cabaret show “Pig in a Wig” at Oasis this past November. “So often, that is not the case and we find ourselves several floors away from the stage. Which doesn’t make a quick change very easy! Oasis’s backstage is spacious, clean and has plenty of well-lit mirrors to accommodate either a large cast or a solo performer like myself who’s fond of massive coiffures.” (It couldn’t fix everything, sadly: “I didn’t see a steamer back there, though. So I was forced to go onstage with my face covered in wrinkles. Humiliating!”)\u003c/p>\n\u003cp>“Backstage” continues to fascinate me, as a physical space as well as an abstract idea. We all need private space in which to compose our exact selves, don’t we? Whether those selves are the real ones or the fancy ones, whether we are drag queens, mere life-sized women, or software developers. But how does Heklina, and how should we, negotiate between onstage and off? After all, as \u003ca href=\"http://ladybunny.net/\" target=\"_blank\" rel=\"noopener\">Lady Bunny\u003c/a> pointed out, sometimes we don’t get enough time outside the public eye, or maybe there’s something about ourselves that doesn’t, and never will, square with our residual self-image.\u003c/p>\n\u003cp>In the eyes of a queen named after an active stratovolcano once known as the “Gateway to Hell,” it’s actually fairly simple. “When I put on a wig and all that stuff,” Heklina says, “it’s just an extension of me. My personality gets amplified a little bit.”\u003c/p>\n\u003cp>This is complicated somewhat as we walk outside, and she casts a business-owner’s eye, a practiced eye, over the sidewalk, slightly annoyed in advance by whatever fresh hell this afternoon may bring. As if on cue, a giant piece of cardboard appears, blocking the sidewalk. Heklina in boy drag is on that sh*t, hauling the big awkward piece of garbage into the alleyway with her bare hands.\u003c/p>\n\u003cp>I laugh and wave goodbye, and she yells over her shoulder the name of the magic spell that makes people see you the way you wish to be seen: “The glamour!”\u003c/p>\n\u003cp>\u003cem>Heklina will host a New Year’s Eve show (which doubles as the club’s first anniversary party) at Oasis this Dec. 31 at 9 p.m. Tickets are $30 and up; visit \u003ca href=\"http://sfoasis.com/\" target=\"_blank\" rel=\"noopener\">sfoasis.com\u003c/a> for details. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the latest act of vandalism this month, the mural outside the Mission district’s Galería de la Raza was set on fire Monday night. The section of Manuel Paul’s mural “Por Vida” that depicts two men embracing was burned beyond recognition just after 11 pm.\u003c/p>\n\u003cp>“This is an act of terrorism in every sense of the word,” said Henry Pacheco, Galería’s communications representative. “They are terrorizing the staff of Galería, the people who live in the building, and the larger community. If it weren’t for the person who came with the fire extinguisher, the entire block could’ve been burned down.”\u003c/p>\n\u003cp>The mural, which L.A.-based artist Paul created as a celebration of lowrider culture and Chicano LGBT pride, was first erected on June 12. It has since been reinstalled twice by Galería volunteers after the piece was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/22/mission-district-gallerys-queer-cholo-mural-defaced-again/\">vandalized over two consecutive weekends\u003c/a>, as previously reported by KQED Arts.\u003c/p>\n\u003cp>The most recent acts of vandalism, including Monday night’s arson attack, were captured by surveillance cameras and the footage is currently under review by the San Francisco Police Department (SFPD.)\u003c/p>\n\u003cp>“There was an accelerant that was found at the scene, as well as an incendiary device, and essentially it’s being investigated as a hate crime and an arson,” said SFPD Spokesman Albie Esparza. Esparza described the suspect as a 5’9” white or Hispanic male between the ages of 20-40 who was dressed in black and wearing white gloves. “The suspect did have his face covered in this latest video so we’re asking the public’s help if they know who this person is.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ani Rivera, Galería de la Raza’s executive director, is now working to create a space for her neighbors and community members to talk about the impact of the vandalism.\u003c/p>\n\u003cp>“We have to take this horrible situation and turn it into a healing opportunity,” Rivera said. “The issue is so much bigger than the mural itself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tomorrow night, Galería de la Raza will \u003ca href=\"https://www.facebook.com/events/794025240710866/\" target=\"_blank\" rel=\"noopener\">host a rally\u003c/a> in front of the burned mural to elicit support and feedback from the community.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the latest act of vandalism this month, the mural outside the Mission district’s Galería de la Raza was set on fire Monday night. The section of Manuel Paul’s mural “Por Vida” that depicts two men embracing was burned beyond recognition just after 11 pm.\u003c/p>\n\u003cp>“This is an act of terrorism in every sense of the word,” said Henry Pacheco, Galería’s communications representative. “They are terrorizing the staff of Galería, the people who live in the building, and the larger community. If it weren’t for the person who came with the fire extinguisher, the entire block could’ve been burned down.”\u003c/p>\n\u003cp>The mural, which L.A.-based artist Paul created as a celebration of lowrider culture and Chicano LGBT pride, was first erected on June 12. It has since been reinstalled twice by Galería volunteers after the piece was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/22/mission-district-gallerys-queer-cholo-mural-defaced-again/\">vandalized over two consecutive weekends\u003c/a>, as previously reported by KQED Arts.\u003c/p>\n\u003cp>The most recent acts of vandalism, including Monday night’s arson attack, were captured by surveillance cameras and the footage is currently under review by the San Francisco Police Department (SFPD.)\u003c/p>\n\u003cp>“There was an accelerant that was found at the scene, as well as an incendiary device, and essentially it’s being investigated as a hate crime and an arson,” said SFPD Spokesman Albie Esparza. Esparza described the suspect as a 5’9” white or Hispanic male between the ages of 20-40 who was dressed in black and wearing white gloves. “The suspect did have his face covered in this latest video so we’re asking the public’s help if they know who this person is.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ani Rivera, Galería de la Raza’s executive director, is now working to create a space for her neighbors and community members to talk about the impact of the vandalism.\u003c/p>\n\u003cp>“We have to take this horrible situation and turn it into a healing opportunity,” Rivera said. “The issue is so much bigger than the mural itself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tomorrow night, Galería de la Raza will \u003ca href=\"https://www.facebook.com/events/794025240710866/\" target=\"_blank\" rel=\"noopener\">host a rally\u003c/a> in front of the burned mural to elicit support and feedback from the community.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"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.",
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"onourwatch": {
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"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?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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