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"content": "\u003cp>When black and brown teenagers experimenting with turntables invented hip-hop at house parties in the Bronx, they no idea they were creating the foundation for what would become the single biggest cultural phenomenon 30 years later. They were simply having fun.\u003c/p>\n\u003cp>In 2018, of course, hip-hop is a billion-dollar industry, but its underground is still very much alive at parties, after-school centers, parks, and protests. It gives voice to struggle and celebrates resilience; it empowers people of all walks of life to speak their truth and be at their best.\u003c/p>\n\u003cp>So it’s an interesting proposition that the Oakland Museum of California has decided to enshrine hip-hop within its white walls. Once a movement enters museums, the concern goes, its progression is stifled. Nonetheless, the new show \u003cem>Respect: Hip-Hop Style & Wisdom\u003c/em>, opening March 24 and running through Aug. 12, treats hip-hop in a fun, engaging way, not as a relic of the past but as a living, breathing art form that’s still evolving.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13827918,13827889,13827917,13827916,13827915,13827919,13827914\"]\u003c/p>\n\u003cp>The sprawling exhibit gives insight into how hip-hop culture came to be through its four elements — graffiti, DJing, b-boying, and rapping. It brings that early growth to life through photos by Martha Cooper, one of the first outsiders to document New York’s nascent graffiti scene; early party flyers featuring DJ Kool Herc and Grandmaster Flash; \u003cem>Soul Train\u003c/em> videos; custom jackets; Grandmaster Flash’s original Technics turntables. Beyond mere artifacts, the show does an admirable job contextualizing this birth of hip-hop in U.S. history, citing the Black Power movement, the social chaos of the Reagan administration, and Afrofuturism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in attempting to be comprehensive, \u003cem>Respect: Hip-hop Style & Wisdom\u003c/em> leaves some crucial details overlooked.\u003c/p>\n\u003cp>The show spends quite a bit of time on New York’s old school and California’s underground hip-hop culture, but it does little to track hip-hop’s evolution from youth counterculture to massive commercial phenomenon. Surprisingly, there’s no mention of figures like Russell Simmons, Rick Rubin, Jay-Z, Lil Wayne, Dr. Dre, Kanye West, or Pharrell — the ones who helped shape it into a mega-industry. (In its place, the exhibition highlights the many ways hip-hop culture has extended \u003cem>beyond\u003c/em> the music — a tapestry by Kehinde Wiley, Obama’s portrait artist, and stylish pieces by Moschino attest to the ways hip-hop as permeated high fashion and fine art.)\u003c/p>\n\u003cp>[gallery ids=\"13827896,13827897,13827898,13827899,13827900,13827895\"]\u003c/p>\n\u003cp>One would probably need an entire hip-hop museum to do justice to the genres’s distinctive regional movements, but the lack of individual attention to influential scenes like Atlanta, Houston, Chicago, and Memphis flatten the genre to California and New York — a very 1990s view of rap music. Even within California, the show hardly makes mention of the hyphy movement, other than videos by E-40 and Lil B playing in the interactive activity room, filled with turntables and sample pads. Nor does it delve into mob music, g-funk, or the Bay Area’s conscious hip-hop movement. Instead, elements of each are presented like a melting pot, and for a major exhibition in Oakland, the one-size-fits-all presentation of such a varied scene left nuance to be desired.\u003c/p>\n\u003cp>Nonetheless, a room dedicated to the Bay Area contains unexpected, special homages, such as graffiti writer Mike “Dream” Francisco’s last work: an altar in homage to two departed friends. A short film by Yak, a mainstay of the turf battle scene, goes behind the scenes of “\u003ca href=\"https://www.youtube.com/watch?v=JQRRnAhmB58\" target=\"_blank\" rel=\"noopener\">RIP Rich D\u003c/a>,” the gorgeous YouTube video of four turf dancers in the rain on International Blvd. that went viral and put the Bay Area street dance on the global map. The ways they speak about dancing as a way to communicate their stories is incredibly moving.\u003c/p>\n\u003cfigure id=\"attachment_13827891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827891\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0903-800x450.jpg\" alt=\"Traci Bartlow's collages of her original concert photos from the '90s. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow’s collages of her original concert photos from the ’90s. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition also contains priceless relics, like graffiti writer Refa One’s personal photo albums of tags from the ’80s, including Dream’s TDK Crew. Traci Bartlow’s collages, created around 2000, feature her original backstage photos from the ’90s of underground icons and all-time greats alike, including Hieroglyphics’ Tajai, E-40, Boots Riley, Pam the Funkstress, Lauryn Hill, Aaliyah, and Quincy Jones. And Eric Arnold’s Bay Area hip-hop atlas offers invaluable insights into key underground spots that shaped the regional scene over the years: the studio where Too Short recorded \u003cem>Born to Mack\u003c/em>, the Eastmont Mall where the sideshow was born, MC Hammer’s childhood home, and many others.\u003c/p>\n\u003cp>Bringing this history into the present day is a wall of photos by young photographer Amanda Sade of hip-hop culture in Oakland. Sade features emerging artists like Siri and Bruh From Last Night, and several others regularly seen on today’s scene, making the show feel personal to those acquainted with the culture’s youthful vanguard.\u003c/p>\n\u003cp>\u003cem>Respect: Hip-hop Style & Wisdom\u003c/em> is visually engaging, too. A pearly white lowrider anchors the main exhibition hall; its owner came to the press preview and hit the switches, making it bounce. Several people mistook Barry McGee’s animatronic graffiti writer for a real person tagging the museum wall; he’s perched atop a mock stack of giant speakers. Colorful photos of artists, graffiti murals, and flashy pieces of hip-hop fashion make the exhibit pop.\u003c/p>\n\u003cfigure id=\"attachment_13827892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0888-800x450.jpg\" alt=\"Oakland photographer Brittsense celebrates the art of black hair in this 2015 series shot in Brownsville, Brooklyn.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland photographer Brittsense celebrates the art of black hair in this 2015 series shot in Brownsville, Brooklyn. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chief curator of \u003cem>Respect: Hip-hop Style & Wisdom\u003c/em>, René de Guzman, characterizes the show as a large team effort, and indeed, the Oakland Museum has done an admirable job of collaborating with the local community instead of speaking for them. Its upcoming roster of events associated with the exhibit include DJ nights, cyphers, panels, and more, inviting in the real-life hip-hop culture already flowing outside of the museum doors.\u003c/p>\n\u003cp>Hip-hop getting a museum show doesn’t mean that the genre is old and on the outs; more so, it pays homage to its wide-ranging cultural impact — which shows no signs of slowing down.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Respect: Hip-hop Style & Wisdom’ is on view at the Oakland Museum of California through Aug. 12. More info \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "In its new show 'Respect: Hip-Hop Style and Wisdom,' hip-hop culture is a dynamic, vibrant living thing. ",
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"title": "The Oakland Museum Gives Hip-Hop Due 'Respect' | KQED",
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"headline": "The Oakland Museum Gives Hip-Hop Due 'Respect'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When black and brown teenagers experimenting with turntables invented hip-hop at house parties in the Bronx, they no idea they were creating the foundation for what would become the single biggest cultural phenomenon 30 years later. They were simply having fun.\u003c/p>\n\u003cp>In 2018, of course, hip-hop is a billion-dollar industry, but its underground is still very much alive at parties, after-school centers, parks, and protests. It gives voice to struggle and celebrates resilience; it empowers people of all walks of life to speak their truth and be at their best.\u003c/p>\n\u003cp>So it’s an interesting proposition that the Oakland Museum of California has decided to enshrine hip-hop within its white walls. Once a movement enters museums, the concern goes, its progression is stifled. Nonetheless, the new show \u003cem>Respect: Hip-Hop Style & Wisdom\u003c/em>, opening March 24 and running through Aug. 12, treats hip-hop in a fun, engaging way, not as a relic of the past but as a living, breathing art form that’s still evolving.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The sprawling exhibit gives insight into how hip-hop culture came to be through its four elements — graffiti, DJing, b-boying, and rapping. It brings that early growth to life through photos by Martha Cooper, one of the first outsiders to document New York’s nascent graffiti scene; early party flyers featuring DJ Kool Herc and Grandmaster Flash; \u003cem>Soul Train\u003c/em> videos; custom jackets; Grandmaster Flash’s original Technics turntables. Beyond mere artifacts, the show does an admirable job contextualizing this birth of hip-hop in U.S. history, citing the Black Power movement, the social chaos of the Reagan administration, and Afrofuturism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in attempting to be comprehensive, \u003cem>Respect: Hip-hop Style & Wisdom\u003c/em> leaves some crucial details overlooked.\u003c/p>\n\u003cp>The show spends quite a bit of time on New York’s old school and California’s underground hip-hop culture, but it does little to track hip-hop’s evolution from youth counterculture to massive commercial phenomenon. Surprisingly, there’s no mention of figures like Russell Simmons, Rick Rubin, Jay-Z, Lil Wayne, Dr. Dre, Kanye West, or Pharrell — the ones who helped shape it into a mega-industry. (In its place, the exhibition highlights the many ways hip-hop culture has extended \u003cem>beyond\u003c/em> the music — a tapestry by Kehinde Wiley, Obama’s portrait artist, and stylish pieces by Moschino attest to the ways hip-hop as permeated high fashion and fine art.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One would probably need an entire hip-hop museum to do justice to the genres’s distinctive regional movements, but the lack of individual attention to influential scenes like Atlanta, Houston, Chicago, and Memphis flatten the genre to California and New York — a very 1990s view of rap music. Even within California, the show hardly makes mention of the hyphy movement, other than videos by E-40 and Lil B playing in the interactive activity room, filled with turntables and sample pads. Nor does it delve into mob music, g-funk, or the Bay Area’s conscious hip-hop movement. Instead, elements of each are presented like a melting pot, and for a major exhibition in Oakland, the one-size-fits-all presentation of such a varied scene left nuance to be desired.\u003c/p>\n\u003cp>Nonetheless, a room dedicated to the Bay Area contains unexpected, special homages, such as graffiti writer Mike “Dream” Francisco’s last work: an altar in homage to two departed friends. A short film by Yak, a mainstay of the turf battle scene, goes behind the scenes of “\u003ca href=\"https://www.youtube.com/watch?v=JQRRnAhmB58\" target=\"_blank\" rel=\"noopener\">RIP Rich D\u003c/a>,” the gorgeous YouTube video of four turf dancers in the rain on International Blvd. that went viral and put the Bay Area street dance on the global map. The ways they speak about dancing as a way to communicate their stories is incredibly moving.\u003c/p>\n\u003cfigure id=\"attachment_13827891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827891\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0903-800x450.jpg\" alt=\"Traci Bartlow's collages of her original concert photos from the '90s. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow’s collages of her original concert photos from the ’90s. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition also contains priceless relics, like graffiti writer Refa One’s personal photo albums of tags from the ’80s, including Dream’s TDK Crew. Traci Bartlow’s collages, created around 2000, feature her original backstage photos from the ’90s of underground icons and all-time greats alike, including Hieroglyphics’ Tajai, E-40, Boots Riley, Pam the Funkstress, Lauryn Hill, Aaliyah, and Quincy Jones. And Eric Arnold’s Bay Area hip-hop atlas offers invaluable insights into key underground spots that shaped the regional scene over the years: the studio where Too Short recorded \u003cem>Born to Mack\u003c/em>, the Eastmont Mall where the sideshow was born, MC Hammer’s childhood home, and many others.\u003c/p>\n\u003cp>Bringing this history into the present day is a wall of photos by young photographer Amanda Sade of hip-hop culture in Oakland. Sade features emerging artists like Siri and Bruh From Last Night, and several others regularly seen on today’s scene, making the show feel personal to those acquainted with the culture’s youthful vanguard.\u003c/p>\n\u003cp>\u003cem>Respect: Hip-hop Style & Wisdom\u003c/em> is visually engaging, too. A pearly white lowrider anchors the main exhibition hall; its owner came to the press preview and hit the switches, making it bounce. Several people mistook Barry McGee’s animatronic graffiti writer for a real person tagging the museum wall; he’s perched atop a mock stack of giant speakers. Colorful photos of artists, graffiti murals, and flashy pieces of hip-hop fashion make the exhibit pop.\u003c/p>\n\u003cfigure id=\"attachment_13827892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0888-800x450.jpg\" alt=\"Oakland photographer Brittsense celebrates the art of black hair in this 2015 series shot in Brownsville, Brooklyn.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland photographer Brittsense celebrates the art of black hair in this 2015 series shot in Brownsville, Brooklyn. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chief curator of \u003cem>Respect: Hip-hop Style & Wisdom\u003c/em>, René de Guzman, characterizes the show as a large team effort, and indeed, the Oakland Museum has done an admirable job of collaborating with the local community instead of speaking for them. Its upcoming roster of events associated with the exhibit include DJ nights, cyphers, panels, and more, inviting in the real-life hip-hop culture already flowing outside of the museum doors.\u003c/p>\n\u003cp>Hip-hop getting a museum show doesn’t mean that the genre is old and on the outs; more so, it pays homage to its wide-ranging cultural impact — which shows no signs of slowing down.\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Respect: Hip-hop Style & Wisdom’ is on view at the Oakland Museum of California through Aug. 12. More info \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hip-Hop History at the Oakland Museum",
"headTitle": "Hip-Hop History at the Oakland Museum | KQED",
"content": "\u003cp>There’s a phrase, coined by Eric B. & Rakim, that’s embedded in rap music’s lexicon: “It ain’t where you’re from, it’s where you’re at.” Now, a new exhibit in Oakland flips that idea of the present, called \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>. \u003c/p>\n\u003cp>Starting back in the 1970s with block parties in the Bronx, the timeline of the show means you’ll see artifacts from all over — Grandmaster Flash’s turntables, LL Cool J’s tracksuit and more. But of course, we’re interested in the Bay Area history here, including a handwritten essay by Tupac comparing black men in America to early American revolutionaries (remember, Tupac once \u003ca href=\"https://www.kqed.org/arts/11696060\" rel=\"noopener\" target=\"_blank\">sued the Oakland police department — and won\u003c/a>). There’s work by two of our favorite Oakland street photographers, \u003ca href=\"https://www.kqed.org/arts/11508333\" rel=\"noopener\" target=\"_blank\">Brittsense\u003c/a> and \u003ca href=\"https://www.instagram.com/amandasade/?hl=en\" rel=\"noopener\" target=\"_blank\">Amanda Sade\u003c/a>, showing how hip-hop still resonates in street style. And veteran rap writer Eric Arnold has put together a huge map of Bay Area hip-hop history that expands on his epic \u003cem>\u003ca href=\"http://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/\" rel=\"noopener\" target=\"_blank\">Rap Atlas: Oakland\u003c/a>\u003c/em>, marking important locations like the studio where Too Short recorded \u003cem>Born to Mack\u003c/em>, or the Eastmont Mall, which birthed the \u003ca href=\"https://www.kqed.org/arts/13824571\" rel=\"noopener\" target=\"_blank\">sideshow as we know it\u003c/a>.\u003c/p>\n\u003cp>There’s a wealth of rap history here in the Bay Area and it hasn’t always been well-chronicled. But with input from well-regarded local rap historians like Davy D and Jeff Chang, \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em> is bound to help fix that. It opens at the Oakland Museum of California on March 24, and runs until mid-August. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Bay Area rappers and producers get recognized in this expansive exhibit of hip-hop's influence nationwide.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a phrase, coined by Eric B. & Rakim, that’s embedded in rap music’s lexicon: “It ain’t where you’re from, it’s where you’re at.” Now, a new exhibit in Oakland flips that idea of the present, called \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>. \u003c/p>\n\u003cp>Starting back in the 1970s with block parties in the Bronx, the timeline of the show means you’ll see artifacts from all over — Grandmaster Flash’s turntables, LL Cool J’s tracksuit and more. But of course, we’re interested in the Bay Area history here, including a handwritten essay by Tupac comparing black men in America to early American revolutionaries (remember, Tupac once \u003ca href=\"https://www.kqed.org/arts/11696060\" rel=\"noopener\" target=\"_blank\">sued the Oakland police department — and won\u003c/a>). There’s work by two of our favorite Oakland street photographers, \u003ca href=\"https://www.kqed.org/arts/11508333\" rel=\"noopener\" target=\"_blank\">Brittsense\u003c/a> and \u003ca href=\"https://www.instagram.com/amandasade/?hl=en\" rel=\"noopener\" target=\"_blank\">Amanda Sade\u003c/a>, showing how hip-hop still resonates in street style. And veteran rap writer Eric Arnold has put together a huge map of Bay Area hip-hop history that expands on his epic \u003cem>\u003ca href=\"http://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/\" rel=\"noopener\" target=\"_blank\">Rap Atlas: Oakland\u003c/a>\u003c/em>, marking important locations like the studio where Too Short recorded \u003cem>Born to Mack\u003c/em>, or the Eastmont Mall, which birthed the \u003ca href=\"https://www.kqed.org/arts/13824571\" rel=\"noopener\" target=\"_blank\">sideshow as we know it\u003c/a>.\u003c/p>\n\u003cp>There’s a wealth of rap history here in the Bay Area and it hasn’t always been well-chronicled. But with input from well-regarded local rap historians like Davy D and Jeff Chang, \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em> is bound to help fix that. It opens at the Oakland Museum of California on March 24, and runs until mid-August. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\u003c/figcaption>\u003c/figure>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We’re looking ahead this week on The Do List to a few exhibitions we’re excited about in 2018, among them \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>, opening in March at the Oakland Museum of California (OMCA). \u003cem>Respect\u003c/em> is part of a trend at the Oakland Museum and other institutions to take serious looks at pop culture. (OMCA presented a show about sneakers recently.)\u003c/p>\n\u003cp>“Hip-hop is misunderstood,” OMCA Senior Curator René de Guzman says, “that it’s all about gangsterism and misogyny. There are elements of that, just as there are negative elements in any cultural form or social group. The other misunderstanding is that hip-hop is simply a music genre, but it extends beyond that to include not only other art forms but principles, values and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13817929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg\" alt=\"Young Boys. 1981. East Flatbush an image from OMCA's upcoming show about hip hop\" width=\"800\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1920x1661.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-520x450.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Boys. 1981, East Flatbush. Image from OMCA’s upcoming show about hip-hop. \u003ccite>(Photo: Jamel Shabazz/OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So the exhibit, de Guzman says, will dig deep into hip-hop’s message of authenticity and political activism, with input from Bay Area icons like Oakland rapper and scholar Mystic and the Hip-Hop Chess Federation’s Adisa Banjoko.\u003c/p>\n\u003cp>My colleague Gabe Meline notes that the show promises to cover the music “beyond big business.” So he’s keen to see how the exhibition covers hustling pioneers like Heiroglyphics and Too Short, who sold tapes out of their trunks in Oakland to build their empires. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CkrdiABTcaI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re looking ahead this week on The Do List to a few exhibitions we’re excited about in 2018, among them \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>, opening in March at the Oakland Museum of California (OMCA). \u003cem>Respect\u003c/em> is part of a trend at the Oakland Museum and other institutions to take serious looks at pop culture. (OMCA presented a show about sneakers recently.)\u003c/p>\n\u003cp>“Hip-hop is misunderstood,” OMCA Senior Curator René de Guzman says, “that it’s all about gangsterism and misogyny. There are elements of that, just as there are negative elements in any cultural form or social group. The other misunderstanding is that hip-hop is simply a music genre, but it extends beyond that to include not only other art forms but principles, values and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13817929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg\" alt=\"Young Boys. 1981. East Flatbush an image from OMCA's upcoming show about hip hop\" width=\"800\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1920x1661.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-520x450.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Boys. 1981, East Flatbush. Image from OMCA’s upcoming show about hip-hop. \u003ccite>(Photo: Jamel Shabazz/OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So the exhibit, de Guzman says, will dig deep into hip-hop’s message of authenticity and political activism, with input from Bay Area icons like Oakland rapper and scholar Mystic and the Hip-Hop Chess Federation’s Adisa Banjoko.\u003c/p>\n\u003cp>My colleague Gabe Meline notes that the show promises to cover the music “beyond big business.” So he’s keen to see how the exhibition covers hustling pioneers like Heiroglyphics and Too Short, who sold tapes out of their trunks in Oakland to build their empires. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\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/CkrdiABTcaI'\n title='//www.youtube.com/embed/CkrdiABTcaI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Día de los Muertos Altars Honor Victims of the Ghost Ship Fire",
"headTitle": "Día de los Muertos Altars Honor Victims of the Ghost Ship Fire | KQED",
"content": "\u003cp>As the Bay Area prepares for the painful one-year anniversary of the Dec. 2 \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" rel=\"noopener\" target=\"_blank\">Ghost Ship warehouse fire\u003c/a>, many have taken to existing local traditions for rituals of remembrance. \u003c/p>\n\u003cp>At San Francisco’s SOMArts, two of the altars in the institution’s 18th annual Día de los Muertos exhibition, \u003ci>\u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">Remembrance and Resistance\u003c/a>\u003c/i>, are dedicated to victims of the fire. And at the Oakland Museum of California, an altar made by Peter Foucault and Chris Treggiari for the museum’s \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">Days of the Dead biennial\u003c/a> bears the names of the 36 Ghost Ship victims, along with four names of those who lost their lives in the West Oakland apartment fire on March 27. \u003c/p>\n\u003cfigure id=\"attachment_13813562\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg\" alt=\"Chris Treggiari and Peter Foucault's Ghost Ship altar at OMCA's 'Metamorphosis & Migration: Days of the Dead.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chris Treggiari and Peter Foucault’s Ghost Ship altar at OMCA’s ‘Metamorphosis & Migration: Days of the Dead.’ \u003ccite>(Courtesy of the Oakland Museum of California; photo by Odell Hussey Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Foucault and Treggiari’s altar started taking shape soon after Dec. 2, 2016, at one of OMCA’s Friday Nights. They’d lost a collaborator in the fire: \u003ca href=\"https://ww2.kqed.org/arts/2016/12/06/alex-ghassan/\" rel=\"noopener\" target=\"_blank\">Alex Ghassan\u003c/a>, a filmmaker who produced three videos for Treggiari’s \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> exhibition (and also worked frequently as an on-call producer for KQED Arts). As Oakland reeled in the wake of the event, OMCA invited visitors to fill out a cards “in memory of those lost.” \u003c/p>\n\u003cp>“A lot of that was just real, raw emotion,” says Evelyn Orantes, who curated \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> and the museum’s current Days of the Dead exhibition, \u003ci>Metamorphosis & Migration\u003c/i>. “It was a week after the fire happened, and it was a rough period.”\u003c/p>\n\u003cfigure id=\"attachment_13813563\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg\" alt=\"First installation of Chris Treggiari and Peter Foucault's Ghost Ship altar, at OMCA's Friday Nights.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">First installation of Chris Treggiari and Peter Foucault’s Ghost Ship altar, at OMCA’s Friday Nights. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly a year later, the altar now on view in the museum bears the names of the 40 victims of both fires in stitched thread — a painstaking undertaking completed in over 200 hours by Shannon Foucault, Peter’s wife. Notes written since the show opened on Oct. 18 are now joining last year’s messages. \u003c/p>\n\u003cfigure id=\"attachment_13813566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg\" alt=\"Susan Matthews, 'Ghost Ship Memorial,' 2017.\" width=\"640\" height=\"960\" class=\"size-full wp-image-13813566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Susan Matthews, ‘Ghost Ship Memorial,’ 2017. \u003ccite>(Courtesy of SOMArts; photo by Danial Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People are contributing, but they’re also reading,” Orantes says. “There’s a dialogue that’s going in through the spoken, the written, and the visual, and we want to be able to have a site where that exchange can happen. We hope this expands the dialogue in a meaningful way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At SOMArts, Susan Matthew’s installation \u003ci>Ghost Ship Memorial\u003c/i> is also punctuated by notes of remembrance and mourning. A replica of the painting that once adorned the Ghost Ship warehouse’s exterior — a skull with windswept hair — hovers over hand-painted hearts bearing the names of each victim of the fire. Beneath Cash Askew’s name, someone has written “Love you Cash.” Post-it notes with personal messages surround the altar.\u003c/p>\n\u003cp>Nearby, \u003ci>Likeness\u003c/i>, an altar dedicated to Ghost Ship fire victim \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator/\" rel=\"noopener\" target=\"_blank\">Jason “JSUN” McCarty\u003c/a>, includes McCarty’s own art and work by six of his friends. At the top of the pink foil-covered space is a painted portrait of McCarty, with colorful images — including some of McCarty’s signature plaid jacket — lining the walls below.\u003c/p>\n\u003cfigure id=\"attachment_13813567\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg\" alt=\"Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, 'Likeness,' 2017.\" width=\"1200\" height=\"928\" class=\"size-full wp-image-13813567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-960x742.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-520x402.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, ‘Likeness,’ 2017. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Traditional celebrations recognize Día de los Muertos as a day for the dead to visit the living, and for the living to celebrate and remember the dead. For Angelica Rodriguez, gallery coordinator at the Mission Cultural Center (which this year hosts its 30th annual Día de los Muertos exhibition, titled \u003ci>\u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">En El Cielo Como En La Tierra\u003c/a>\u003c/i>), getting comfortable with talking about death is part of the event. Leading 60 to 80 tours each year through the MCC’s exhibition, she talks about death on near-daily basis. \u003c/p>\n\u003cp>“Having to remember and having to grieve about death puts you in the space where you see your own life reflected,” she says. “I think that’s one of the most powerful things; to use that time and space to contemplate death is very healthy. Death is very much part of American culture, but we don’t allow ourselves to feel and express that.” \u003c/p>\n\u003cp>That’s why, she says, there’s such an appeal to Día de los Muertos as a celebration — and not just for the Latinx community. “If it wasn’t healthy, people wouldn’t gravitate towards it,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Metamorphosis & Migration: Days of the Dead’ is on view at the Oakland Museum of California through Jan. 14, 2018. For more information, \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘Remembrance and Resistance’ is on view at SOMArts through Nov. 9, 2017. For more information, \u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘En El Cielo Como En La Tierra’ is on view at the Mission Cultural Center through Nov. 17, 2017. For more information, \u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Marigold Project’s annual Festival of Altars takes place in San Francisco’s Garfield Park on Thursday, Nov. 2, 2017, 4-11pm with a procession beginning at 7pm at 22nd and Bryant Streets. For more information, \u003ca href=\"https://dayofthedeadsf.org/informacion-general-general-information/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joshua Bote contributed research to this story.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As the one-year anniversary of the Ghost Ship warehouse fire nears, many look to existing local traditions for rituals of remembrance. ",
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"description": "As the one-year anniversary of the Ghost Ship warehouse fire nears, many look to existing local traditions for rituals of remembrance. ",
"title": "Día de los Muertos Altars Honor Victims of the Ghost Ship Fire | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the Bay Area prepares for the painful one-year anniversary of the Dec. 2 \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\" rel=\"noopener\" target=\"_blank\">Ghost Ship warehouse fire\u003c/a>, many have taken to existing local traditions for rituals of remembrance. \u003c/p>\n\u003cp>At San Francisco’s SOMArts, two of the altars in the institution’s 18th annual Día de los Muertos exhibition, \u003ci>\u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">Remembrance and Resistance\u003c/a>\u003c/i>, are dedicated to victims of the fire. And at the Oakland Museum of California, an altar made by Peter Foucault and Chris Treggiari for the museum’s \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">Days of the Dead biennial\u003c/a> bears the names of the 36 Ghost Ship victims, along with four names of those who lost their lives in the West Oakland apartment fire on March 27. \u003c/p>\n\u003cfigure id=\"attachment_13813562\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg\" alt=\"Chris Treggiari and Peter Foucault's Ghost Ship altar at OMCA's 'Metamorphosis & Migration: Days of the Dead.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chris Treggiari and Peter Foucault’s Ghost Ship altar at OMCA’s ‘Metamorphosis & Migration: Days of the Dead.’ \u003ccite>(Courtesy of the Oakland Museum of California; photo by Odell Hussey Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Foucault and Treggiari’s altar started taking shape soon after Dec. 2, 2016, at one of OMCA’s Friday Nights. They’d lost a collaborator in the fire: \u003ca href=\"https://ww2.kqed.org/arts/2016/12/06/alex-ghassan/\" rel=\"noopener\" target=\"_blank\">Alex Ghassan\u003c/a>, a filmmaker who produced three videos for Treggiari’s \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> exhibition (and also worked frequently as an on-call producer for KQED Arts). As Oakland reeled in the wake of the event, OMCA invited visitors to fill out a cards “in memory of those lost.” \u003c/p>\n\u003cp>“A lot of that was just real, raw emotion,” says Evelyn Orantes, who curated \u003ci>\u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" rel=\"noopener\" target=\"_blank\">Oakland, I want you to know…\u003c/a>\u003c/i> and the museum’s current Days of the Dead exhibition, \u003ci>Metamorphosis & Migration\u003c/i>. “It was a week after the fire happened, and it was a rough period.”\u003c/p>\n\u003cfigure id=\"attachment_13813563\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg\" alt=\"First installation of Chris Treggiari and Peter Foucault's Ghost Ship altar, at OMCA's Friday Nights.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13813563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OMCA_FridayNights_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">First installation of Chris Treggiari and Peter Foucault’s Ghost Ship altar, at OMCA’s Friday Nights. \u003ccite>(Courtesy of the Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly a year later, the altar now on view in the museum bears the names of the 40 victims of both fires in stitched thread — a painstaking undertaking completed in over 200 hours by Shannon Foucault, Peter’s wife. Notes written since the show opened on Oct. 18 are now joining last year’s messages. \u003c/p>\n\u003cfigure id=\"attachment_13813566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg\" alt=\"Susan Matthews, 'Ghost Ship Memorial,' 2017.\" width=\"640\" height=\"960\" class=\"size-full wp-image-13813566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_GhostShip_640-520x780.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Susan Matthews, ‘Ghost Ship Memorial,’ 2017. \u003ccite>(Courtesy of SOMArts; photo by Danial Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People are contributing, but they’re also reading,” Orantes says. “There’s a dialogue that’s going in through the spoken, the written, and the visual, and we want to be able to have a site where that exchange can happen. We hope this expands the dialogue in a meaningful way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At SOMArts, Susan Matthew’s installation \u003ci>Ghost Ship Memorial\u003c/i> is also punctuated by notes of remembrance and mourning. A replica of the painting that once adorned the Ghost Ship warehouse’s exterior — a skull with windswept hair — hovers over hand-painted hearts bearing the names of each victim of the fire. Beneath Cash Askew’s name, someone has written “Love you Cash.” Post-it notes with personal messages surround the altar.\u003c/p>\n\u003cp>Nearby, \u003ci>Likeness\u003c/i>, an altar dedicated to Ghost Ship fire victim \u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator/\" rel=\"noopener\" target=\"_blank\">Jason “JSUN” McCarty\u003c/a>, includes McCarty’s own art and work by six of his friends. At the top of the pink foil-covered space is a painted portrait of McCarty, with colorful images — including some of McCarty’s signature plaid jacket — lining the walls below.\u003c/p>\n\u003cfigure id=\"attachment_13813567\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg\" alt=\"Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, 'Likeness,' 2017.\" width=\"1200\" height=\"928\" class=\"size-full wp-image-13813567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-960x742.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SOMA_Jsun-520x402.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jsun Adrian McCarty, Linda Trunzo, Rosario Sotelo, Gera Lozano, Werc Alvarez, Michael Daddona and Jeremiah Jenkins, ‘Likeness,’ 2017. \u003ccite>(Sarah Hotchkiss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Traditional celebrations recognize Día de los Muertos as a day for the dead to visit the living, and for the living to celebrate and remember the dead. For Angelica Rodriguez, gallery coordinator at the Mission Cultural Center (which this year hosts its 30th annual Día de los Muertos exhibition, titled \u003ci>\u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">En El Cielo Como En La Tierra\u003c/a>\u003c/i>), getting comfortable with talking about death is part of the event. Leading 60 to 80 tours each year through the MCC’s exhibition, she talks about death on near-daily basis. \u003c/p>\n\u003cp>“Having to remember and having to grieve about death puts you in the space where you see your own life reflected,” she says. “I think that’s one of the most powerful things; to use that time and space to contemplate death is very healthy. Death is very much part of American culture, but we don’t allow ourselves to feel and express that.” \u003c/p>\n\u003cp>That’s why, she says, there’s such an appeal to Día de los Muertos as a celebration — and not just for the Latinx community. “If it wasn’t healthy, people wouldn’t gravitate towards it,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Metamorphosis & Migration: Days of the Dead’ is on view at the Oakland Museum of California through Jan. 14, 2018. For more information, \u003ca href=\"http://museumca.org/exhibit/days-of-the-dead-2017\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘Remembrance and Resistance’ is on view at SOMArts through Nov. 9, 2017. For more information, \u003ca href=\"http://www.somarts.org/remembrance/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>‘En El Cielo Como En La Tierra’ is on view at the Mission Cultural Center through Nov. 17, 2017. For more information, \u003ca href=\"http://www.missionculturalcenter.org/day-of-the-dead.html\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Marigold Project’s annual Festival of Altars takes place in San Francisco’s Garfield Park on Thursday, Nov. 2, 2017, 4-11pm with a procession beginning at 7pm at 22nd and Bryant Streets. For more information, \u003ca href=\"https://dayofthedeadsf.org/informacion-general-general-information/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Joshua Bote contributed research to this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "over-160-black-men-one-giant-conversation-at-oakland-museum",
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"content": "\u003cp>Walking into \u003cem>Question Bridge: Black Males\u003c/em>, a newly acquired multimedia exhibit at the Oakland Museum of California, I’m immediately enveloped in hushed darkness. The space is quiet, plainly decorated, with the walls, floors, and benches practically disappearing in a muted, uniform black. Viewers watch video recordings with an almost reverent silence, their eyes fixed on the room’s only source of light: an array of brightly lit screens, with a black man in the center of each.\u003c/p>\n\u003cp>Directed by Chris Johnson and Hank Willis Thomas, in collaboration with Bayete Ross Smith and Kamal Sinclair, \u003cem>Question Bridge: Black Males\u003c/em> has grown from its roots as a video installation into a full-fledged movement of national significance. Originally shown at OMCA in 2012, the project was commended for its presentation of the black male narrative — and, most notably, its diversity across the American population.\u003c/p>\n\u003cfigure id=\"attachment_13812763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-800x321.jpg\" alt=\"A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair.\" width=\"800\" height=\"321\" class=\"size-medium wp-image-13812763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-800x321.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-768x308.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-1020x409.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-1180x473.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-960x385.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-520x209.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair. \u003ccite>(Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[The artists] wanted to make sure they covered as many different kinds of folks as possible. Different cities, older men, younger men. Different occupations,” says Rene de Guzman, curator of the OMCA showing. “Of course you can’t cover every single person, but I think [viewers] had a sense of like, this is a really broad range of folks who are participating in the conversation.”\u003c/p>\n\u003cp>The breadth clearly comes across. When watching even a small snippet of the three-hour long video reel featuring 160 interviewees, it’s impossible not to notice the wide range black males from all walks of life — young boys, established judges, current prison inmates, famous actors and many more.\u003c/p>\n\u003cp>“One [hope of the exhibit] is for folks to understand that black males are as dynamic, interesting, and complicated as everyone else. That folks will stop objectifying who they are — they’re human beings…[Their narratives] are expansive and complex and incredibly interesting,” shares de Guzman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the range in location and physicality of those interviewed, \u003cem>Question Bridge: Black Males\u003c/em> hinges on the notion that people are bound by their shared ideas and experiences. While viewing the piece, the men often appear to be talking with one another, each contributing a different perspective to an ongoing conversation — despite never having been in the same room. They discuss the use of the n-word, Post Traumatic Slave Syndrome, and how they know when they’re really in love — while maintaining a feeling of continuity, which Guzman explains was intentional.\u003c/p>\n\u003cp>“What [the artists] wanted to emphasize was that it was not physicality so much as ideas that connect people,” he says, hoping the exhibit can help viewers understand “not only how they think about black males, but how they think about themselves. Their differences and their commonalities, so that they can connect with other kinds of people.” \u003c/p>\n\u003cfigure id=\"attachment_13812762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-800x683.jpg\" alt=\"A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair.\" width=\"800\" height=\"683\" class=\"size-medium wp-image-13812762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-800x683.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-768x656.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-1020x871.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-1180x1008.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-960x820.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-375x320.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-520x444.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair. \u003ccite>(Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Creating a tangible, physical space to make room for such multi-faceted reflection is no easy feat — something de Guzman kept in mind while designing the exhibit. Rather than viewing interviews from afar, viewers are seated in close proximity to the spread of screens.\u003c/p>\n\u003cp>In fact, the benches, placed in rows going away from the screen, even faintly recall the pews of a church. And the viewers’ collective quiet similarly contributes to the feeling of entering into a “sacred agreement [viewers] made with the project. That [they] were a guest to this conversation that is vulnerable, unique, and intimate,” according to de Guzman.\u003c/p>\n\u003cp>Ultimately, every thoughtful, intentional choice in setting the exhibit sets the tone for its core purpose: Fostering conversation while providing a platform for black men to speak their thoughts, regardless of who or where they may be. Recounting an impromptu talk with artist and cofounder Chris Johnson on opening night, de Guzman explained how audience members thought that interviewees had extensively prepared their answers for the filming. \u003c/p>\n\u003cp>“[In response,] Chris said no,” de Guzman says. “He said that these rehearsed answers are happening all over the place every single day. The project just gave folks the opportunity to share what they were thinking about their whole lives.”\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>\u003c/p>\n\u003cp>\u003cem>‘Question Bridge: Black Males’ runs through Feb. 25, 2018, at the Oakland Museum of California. \u003ca href=\"http://museumca.org/exhibit/question-bridge-black-males-2017\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walking into \u003cem>Question Bridge: Black Males\u003c/em>, a newly acquired multimedia exhibit at the Oakland Museum of California, I’m immediately enveloped in hushed darkness. The space is quiet, plainly decorated, with the walls, floors, and benches practically disappearing in a muted, uniform black. Viewers watch video recordings with an almost reverent silence, their eyes fixed on the room’s only source of light: an array of brightly lit screens, with a black man in the center of each.\u003c/p>\n\u003cp>Directed by Chris Johnson and Hank Willis Thomas, in collaboration with Bayete Ross Smith and Kamal Sinclair, \u003cem>Question Bridge: Black Males\u003c/em> has grown from its roots as a video installation into a full-fledged movement of national significance. Originally shown at OMCA in 2012, the project was commended for its presentation of the black male narrative — and, most notably, its diversity across the American population.\u003c/p>\n\u003cfigure id=\"attachment_13812763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-800x321.jpg\" alt=\"A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair.\" width=\"800\" height=\"321\" class=\"size-medium wp-image-13812763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-800x321.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-768x308.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-1020x409.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-1180x473.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-960x385.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_4-2-520x209.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair. \u003ccite>(Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[The artists] wanted to make sure they covered as many different kinds of folks as possible. Different cities, older men, younger men. Different occupations,” says Rene de Guzman, curator of the OMCA showing. “Of course you can’t cover every single person, but I think [viewers] had a sense of like, this is a really broad range of folks who are participating in the conversation.”\u003c/p>\n\u003cp>The breadth clearly comes across. When watching even a small snippet of the three-hour long video reel featuring 160 interviewees, it’s impossible not to notice the wide range black males from all walks of life — young boys, established judges, current prison inmates, famous actors and many more.\u003c/p>\n\u003cp>“One [hope of the exhibit] is for folks to understand that black males are as dynamic, interesting, and complicated as everyone else. That folks will stop objectifying who they are — they’re human beings…[Their narratives] are expansive and complex and incredibly interesting,” shares de Guzman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the range in location and physicality of those interviewed, \u003cem>Question Bridge: Black Males\u003c/em> hinges on the notion that people are bound by their shared ideas and experiences. While viewing the piece, the men often appear to be talking with one another, each contributing a different perspective to an ongoing conversation — despite never having been in the same room. They discuss the use of the n-word, Post Traumatic Slave Syndrome, and how they know when they’re really in love — while maintaining a feeling of continuity, which Guzman explains was intentional.\u003c/p>\n\u003cp>“What [the artists] wanted to emphasize was that it was not physicality so much as ideas that connect people,” he says, hoping the exhibit can help viewers understand “not only how they think about black males, but how they think about themselves. Their differences and their commonalities, so that they can connect with other kinds of people.” \u003c/p>\n\u003cfigure id=\"attachment_13812762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-800x683.jpg\" alt=\"A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair.\" width=\"800\" height=\"683\" class=\"size-medium wp-image-13812762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-800x683.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-768x656.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-1020x871.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-1180x1008.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-960x820.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-375x320.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/QuestionBridge_2-2-520x444.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Question Bridge: Black Males, created by Chris Johnson, Hank Willis Thomas, Bayete Ross Smith, and Kamal Sinclair. \u003ccite>(Courtesy Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Creating a tangible, physical space to make room for such multi-faceted reflection is no easy feat — something de Guzman kept in mind while designing the exhibit. Rather than viewing interviews from afar, viewers are seated in close proximity to the spread of screens.\u003c/p>\n\u003cp>In fact, the benches, placed in rows going away from the screen, even faintly recall the pews of a church. And the viewers’ collective quiet similarly contributes to the feeling of entering into a “sacred agreement [viewers] made with the project. That [they] were a guest to this conversation that is vulnerable, unique, and intimate,” according to de Guzman.\u003c/p>\n\u003cp>Ultimately, every thoughtful, intentional choice in setting the exhibit sets the tone for its core purpose: Fostering conversation while providing a platform for black men to speak their thoughts, regardless of who or where they may be. Recounting an impromptu talk with artist and cofounder Chris Johnson on opening night, de Guzman explained how audience members thought that interviewees had extensively prepared their answers for the filming. \u003c/p>\n\u003cp>“[In response,] Chris said no,” de Guzman says. “He said that these rehearsed answers are happening all over the place every single day. The project just gave folks the opportunity to share what they were thinking about their whole lives.”\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>\u003c/p>\n\u003cp>\u003cem>‘Question Bridge: Black Males’ runs through Feb. 25, 2018, at the Oakland Museum of California. \u003ca href=\"http://museumca.org/exhibit/question-bridge-black-males-2017\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s a heartbreaking week for artists and venues in the North Bay, with the fires still raging in Sonoma, Napa and Mendocino. Electronic music pioneer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/bernie-krauses-equipment-decades-of-musical-memorabilia-lost-in-fires/\" target=\"_blank\" rel=\"noopener\">Bernie Krause lost his home\u003c/a>, all his equipment and his two cats. The \u003ca href=\"https://www.facebook.com/pg/lutherburbankcenter/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\">Luther Burbank Center in Santa Rosa suffered some damage\u003c/a>, and along with the \u003ca href=\"https://www.facebook.com/search/str/Green+music+Center/keywords_blended_featured_posts?esd=eyJlc2lkIjoiUzpfSTEzOTcwNzI4Mjc0ODk0ODpWSzo1MjQzNjc2MTEyMzEwNDgiLCJwc2lkIjp7IjEzOTcwNzI4Mjc0ODk0ODo1MjQzNjc2MTEyMzEwNDgiOiJVenBmU1RFek9UY3dOekk0TWpjME9EazBPRHBXU3pvMU1qUXpOamMyTVRFeU16RXdORGc9In0sImNyY3QiOiJ0ZXh0IiwiY3NpZCI6IjA2NjE0OTVlZmM1N2Q1NmJiY2VhY2YzYzg0YjA0ZWNiIn0%3D\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> and other venues, remains closed indefinitely. Same for the di Rosa in Napa, the Napa Museum, and the Napa Valley Performing Arts Center. The \u003ca href=\"http://www.mystictheatre.com/\" target=\"_blank\" rel=\"noopener\">Mystic Theatre in Petaluma\u003c/a> opened its doors as a shelter, but resumes programming on Friday (Oct. 13).\u003c/p>\n\u003cp>The\u003ca href=\"https://www.facebook.com/pg/hopmonksebastopol/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\"> Hop Monk Taverns\u003c/a> in Sonoma and Sebastopol are canceling weekend music shows, but owner Dean Biersch says they’re still hoping to do a Sunday show with John Doe of the band X at their Novato venue, depending on air quality. \u003ca href=\"https://www.facebook.com/winecountryspokenwordfestival/\" target=\"_blank\" rel=\"noopener\">The Inaugural Wine Country Spoken Word Festival\u003c/a> is offering a special rate of five dollars for tickets to their Ghost Stories event at \u003ca href=\"http://brewstersbeergarden.com/\" target=\"_blank\" rel=\"noopener\">Brewsters Beer Garden\u003c/a> in Petaluma (Oct. 13), and for their shows on Saturday (Oct. 14), with half the proceeds to be donated to fire victims and their families. Our thoughts are with you all you.\u003c/p>\n\u003cp>Meanwhile here’s our show, a refuge against stress, of joy through art, in the midst of tragedy, with my colleague, Interactive Producer Kevin Jones, as co-host.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/soul-music-that-drifts-through-space/\" target=\"_blank\" rel=\"noopener\">Nick Hakim plays trippy soul music that seems to drift through space at a pair of gigs in San Francisco and Oakland.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 12-22: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-play-about-syrian-refugees-told-through-the-language-of-food/\" target=\"_blank\" rel=\"noopener\">The play \u003cem>My Sweet Land\u003c/em> presents its tale of Syrian refugees in home and community kitchens through the cooking of a batch of kibbeh.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 14\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-celebration-of-culture-that-unites-the-two-koreas/\" target=\"_blank\" rel=\"noopener\">Concerts and seminars at U.C. Santa Cruz and U.C. Berkeley present music from a united Korean culture from before the country divided.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 7-Jan. 21, 2018\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/an-inflatable-sculpture-designed-to-fight-existential-dread/\" target=\"_blank\" rel=\"noopener\">An inflatable sculpture at the Oakland Museum of California battles existential dread.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 14:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/fantastic-negrito-makes-music-about-our-times-and-troubles/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito makes music to inspire and unite.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 18 & 19: \u003c/strong>MacArthur Fellow and writer Viet Thanh Nguyen (\u003cem>The Sympathizer\u003c/em>) speaks at \u003ca href=\"http://www.litart.org/viet-thanh-nguyen/\" target=\"_blank\" rel=\"noopener\">San Jose State Oct. 18 \u003c/a>and at \u003ca href=\"https://lwcal.scu.edu/index.php#!event_id/37896/view/event/date/20171019\" target=\"_blank\" rel=\"noopener\">Santa Clara University Oct. 19.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct 13, 14: \u003c/strong>\u003ca href=\"https://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=316725~983c845f-a11a-4407-a254-d45cc3fdaab3&epguid=a1ad63af-e5ba-48a3-940d-9a52532417fb&\" target=\"_blank\" rel=\"noopener\">The documentary \u003cem>On the Sly: In Search of the Family Stone \u003c/em>plays at the Mill Valley Film Festival \u003c/a>\u003c/p>\n\n",
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"excerpt": "The Do List's picks this week include joyful sculpture at OMCA, neo-soul artist Nick Hakim, Oakland's Fantastic Negrito and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a heartbreaking week for artists and venues in the North Bay, with the fires still raging in Sonoma, Napa and Mendocino. Electronic music pioneer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/bernie-krauses-equipment-decades-of-musical-memorabilia-lost-in-fires/\" target=\"_blank\" rel=\"noopener\">Bernie Krause lost his home\u003c/a>, all his equipment and his two cats. The \u003ca href=\"https://www.facebook.com/pg/lutherburbankcenter/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\">Luther Burbank Center in Santa Rosa suffered some damage\u003c/a>, and along with the \u003ca href=\"https://www.facebook.com/search/str/Green+music+Center/keywords_blended_featured_posts?esd=eyJlc2lkIjoiUzpfSTEzOTcwNzI4Mjc0ODk0ODpWSzo1MjQzNjc2MTEyMzEwNDgiLCJwc2lkIjp7IjEzOTcwNzI4Mjc0ODk0ODo1MjQzNjc2MTEyMzEwNDgiOiJVenBmU1RFek9UY3dOekk0TWpjME9EazBPRHBXU3pvMU1qUXpOamMyTVRFeU16RXdORGc9In0sImNyY3QiOiJ0ZXh0IiwiY3NpZCI6IjA2NjE0OTVlZmM1N2Q1NmJiY2VhY2YzYzg0YjA0ZWNiIn0%3D\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> and other venues, remains closed indefinitely. Same for the di Rosa in Napa, the Napa Museum, and the Napa Valley Performing Arts Center. The \u003ca href=\"http://www.mystictheatre.com/\" target=\"_blank\" rel=\"noopener\">Mystic Theatre in Petaluma\u003c/a> opened its doors as a shelter, but resumes programming on Friday (Oct. 13).\u003c/p>\n\u003cp>The\u003ca href=\"https://www.facebook.com/pg/hopmonksebastopol/posts/?ref=page_internal\" target=\"_blank\" rel=\"noopener\"> Hop Monk Taverns\u003c/a> in Sonoma and Sebastopol are canceling weekend music shows, but owner Dean Biersch says they’re still hoping to do a Sunday show with John Doe of the band X at their Novato venue, depending on air quality. \u003ca href=\"https://www.facebook.com/winecountryspokenwordfestival/\" target=\"_blank\" rel=\"noopener\">The Inaugural Wine Country Spoken Word Festival\u003c/a> is offering a special rate of five dollars for tickets to their Ghost Stories event at \u003ca href=\"http://brewstersbeergarden.com/\" target=\"_blank\" rel=\"noopener\">Brewsters Beer Garden\u003c/a> in Petaluma (Oct. 13), and for their shows on Saturday (Oct. 14), with half the proceeds to be donated to fire victims and their families. Our thoughts are with you all you.\u003c/p>\n\u003cp>Meanwhile here’s our show, a refuge against stress, of joy through art, in the midst of tragedy, with my colleague, Interactive Producer Kevin Jones, as co-host.\u003c/p>\n\u003cp>\u003cstrong>Oct. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/soul-music-that-drifts-through-space/\" target=\"_blank\" rel=\"noopener\">Nick Hakim plays trippy soul music that seems to drift through space at a pair of gigs in San Francisco and Oakland.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 12-22: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-play-about-syrian-refugees-told-through-the-language-of-food/\" target=\"_blank\" rel=\"noopener\">The play \u003cem>My Sweet Land\u003c/em> presents its tale of Syrian refugees in home and community kitchens through the cooking of a batch of kibbeh.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 14\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/a-celebration-of-culture-that-unites-the-two-koreas/\" target=\"_blank\" rel=\"noopener\">Concerts and seminars at U.C. Santa Cruz and U.C. Berkeley present music from a united Korean culture from before the country divided.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 7-Jan. 21, 2018\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/an-inflatable-sculpture-designed-to-fight-existential-dread/\" target=\"_blank\" rel=\"noopener\">An inflatable sculpture at the Oakland Museum of California battles existential dread.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 14:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/11/fantastic-negrito-makes-music-about-our-times-and-troubles/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito makes music to inspire and unite.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 18 & 19: \u003c/strong>MacArthur Fellow and writer Viet Thanh Nguyen (\u003cem>The Sympathizer\u003c/em>) speaks at \u003ca href=\"http://www.litart.org/viet-thanh-nguyen/\" target=\"_blank\" rel=\"noopener\">San Jose State Oct. 18 \u003c/a>and at \u003ca href=\"https://lwcal.scu.edu/index.php#!event_id/37896/view/event/date/20171019\" target=\"_blank\" rel=\"noopener\">Santa Clara University Oct. 19.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct 13, 14: \u003c/strong>\u003ca href=\"https://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=316725~983c845f-a11a-4407-a254-d45cc3fdaab3&epguid=a1ad63af-e5ba-48a3-940d-9a52532417fb&\" target=\"_blank\" rel=\"noopener\">The documentary \u003cem>On the Sly: In Search of the Family Stone \u003c/em>plays at the Mill Valley Film Festival \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Nature’s Gift\u003c/em> is an inflatable sculpture, a giant abstract balloon animal, glowing in bubble gum colors. It’s a brand new work filling the Great Hall at the\u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> by Samuel Borkson and Arturo Sandoval III, known as the fine arts collective \u003ca href=\"http://friendswithyou.com/\" target=\"_blank\" rel=\"noopener\">FriendsWithYou\u003c/a>. There are hammocks to swing in around the sculpture, and it’s okay to touch and lean on its bulbous nipples and phallic extensions. Ethereal music by Norman Bambi plays in the background. Artist Borkson says the work is designed to bring joy, at a time when people are stressed out about politics and climate change and nuclear war. “It has components of healing and unknown color therapy in it,” Borkson says. “Making work that is healing is such an important thing for our times right now, because we’re battling such intense feelings of isolation and pain and suffering and hurt, so this is our attempt at really touching people.”\u003c/p>\n\u003cp>The piece reminded co-host \u003ca href=\"https://ww2.kqed.org/arts/author/kjones/\" rel=\"noopener\" target=\"_blank\">Kevin Jones\u003c/a> of chill out rooms at raves in the 1990s, and it left me wanting to hug the artists, which I did. \u003ca href=\"http://museumca.org/exhibit/natures-gift-humans-friends-unknown\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://youtu.be/45HOpBJmaZA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Nature’s Gift\u003c/em> is an inflatable sculpture, a giant abstract balloon animal, glowing in bubble gum colors. It’s a brand new work filling the Great Hall at the\u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> by Samuel Borkson and Arturo Sandoval III, known as the fine arts collective \u003ca href=\"http://friendswithyou.com/\" target=\"_blank\" rel=\"noopener\">FriendsWithYou\u003c/a>. There are hammocks to swing in around the sculpture, and it’s okay to touch and lean on its bulbous nipples and phallic extensions. Ethereal music by Norman Bambi plays in the background. Artist Borkson says the work is designed to bring joy, at a time when people are stressed out about politics and climate change and nuclear war. “It has components of healing and unknown color therapy in it,” Borkson says. “Making work that is healing is such an important thing for our times right now, because we’re battling such intense feelings of isolation and pain and suffering and hurt, so this is our attempt at really touching people.”\u003c/p>\n\u003cp>The piece reminded co-host \u003ca href=\"https://ww2.kqed.org/arts/author/kjones/\" rel=\"noopener\" target=\"_blank\">Kevin Jones\u003c/a> of chill out rooms at raves in the 1990s, and it left me wanting to hug the artists, which I did. \u003ca href=\"http://museumca.org/exhibit/natures-gift-humans-friends-unknown\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\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/45HOpBJmaZA'\n title='//www.youtube.com/embed/45HOpBJmaZA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>You may not recognize her name, but you’ve probably seen one of Anne Brigman’s photos before. She photographed people — including herself — nude, in dramatic poses against wild, natural backdrops, often in the High Sierras. Her photographs have become textbook examples of “Pictorialism,” a phase in photographic history which flourished in the late 19th and early 20th centuries — a time when photographers tried to justify their worth in a world more fond of painting. Pictorialist photographers manipulated their images to make them look more like “artistic creations” than mere realistic snaps of a subject.\u003c/p>\n\u003cp>“Photography was a new medium then,” says\u003cstrong> \u003c/strong>Marianne McGrath, curator at New Museum Los Gatos, which is showing \u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Heart of the Wild: Anne Brigman and her Circle\u003c/em>\u003c/a>. “Artists wanted to elevate photography to the level of other fields and be taken seriously.”\u003c/p>\n\u003cp>Brigman wanted to be taken seriously. A mere year after she took up photography in 1901, she wrote a letter to Alfred Stieglitz, the godfather of art photography of her day. Stieglitz rewarded Brigman’s moxie and talent by inducting her into the Photo-Secession movement. Photo-Secessionists championed the idea that a photograph need not be slavishly dedicated to the depiction of reality, but instead composed and even manipulated to deliver a compelling subjective vision.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/274266602″ 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>Brigman was one of only a handful of west coast photographers to be accepted by the Photo-Secessionists. Stieglitz also published her photos in \u003cem>Camera Work\u003c/em>, his taste-making quarterly. “That was the publication that brought Anne Brigman to the forefront nationally and then internationally,” says McGrath.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brigman won awards here and abroad. Her work was exhibited all over the Bay Area, as well as in Chicago, New York, Tokyo and Madrid, to name just a few places. She helped photographer Francis Bruguière organize an exhibition of pictorial photographs for the 1915 Panama-Pacific International Exposition in San Francisco, at which she won the grand prize.\u003c/p>\n\u003cp>\u003cstrong>A pagan child of missionaries\u003c/strong>\u003c/p>\n\u003cp>This was not the life Brigman’s parents had in mind for their daughter. The child and grandchild of Christian missionaries, Brigman was born in Honolulu and moved to Los Gatos at age 16 with her parents. When she married a sea captain a few years later, she seemed to be heading towards a conventional life.\u003c/p>\n\u003cp>Brigman had dabbled in painting landscapes, along with many women of the day, but she also immersed herself in the Bay Area’s thriving bohemian artistic community. She developed friendships with artists like painter William Keith and author Jack London. She also wrote and acted in theatrical productions.\u003c/p>\n\u003cp>Advancing technology made photography more accessible and popular as the century turned, and Brigman adopted it with a passion. She created her first serious portrait — of her husband — in 1900, and quickly moved into the public sphere. She first exhibited her photographs in early 1902 at the San Francisco Photographic Salon. By May of that year, she won a prize in the First Los Angeles Photographic Salon, and saw some of her images published in \u003cem>Camera Craft.\u003c/em>\u003c/p>\n\u003cp>Brigman started taking multi-day hikes in the Sierra Nevada with her camera kit in tow. It was not the sort of thing many women did back then. “People didn’t have the equipment that we have today,” McGrath says. “There was no REI. She toted a heavy camera and a wooden tripod and enough supplies for these long ventures into the Sierras.”\u003c/p>\n\u003cfigure id=\"attachment_11812084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11812084 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-800x450.jpg\" alt=\"Detail of Anne Brigman,'Dawn,' 1912. Photogravure from Camera Work No. 38. "There’s something poetic in every photograph," says Marianne McGrath, curator at New Museum Los Gatos.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Anne Brigman,’Dawn,’ 1912. Photogravure from Camera Work No. 38. “There’s something poetic in every photograph,” says Marianne McGrath, curator at New Museum Los Gatos. \u003ccite>(Photo: Courtesy of Judy Dater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brigman’s models were family members, close friends, and often, herself. Her work hinted at a wild world full of fairies and nymphs, Greco-Roman mythology and also the pantheistic tales Brigman picked up during her childhood in Hawaii.\u003c/p>\n\u003cp>Brigman wasn’t the only female Pictorialist on the west coast, and she wasn’t the only Pictorialist doing nudes. Nevertheless, the effect of her images on the public was shocking.\u003c/p>\n\u003cp>“The style of nudes she did –- out in the open air, in high elevations in the Sierras with the bristle cone pines and the granite and so forth –- a lot of the photographic establishment was very critical of that,” says Drew Johnson, curator of photography and visual culture at the \u003ca href=\"http://collections.museumca.org/?q=list/taxonomy/term/1523\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a>. (Oakland has one of two top-tier collections of Brigman’s work in the U.S., alongside the \u003ca href=\"http://www.geh.org/ar/strip81/htmlsrc/brigmanetal_sum00002.html\" target=\"_blank\" rel=\"noopener\">George Eastman House\u003c/a> in Rochester, New York.) “They would say things like ‘She takes these scrawny, skinny California women, and just sticks them in a tree or something.’ Of course, from her point of view, she was exalting the athletic Western woman.”\u003c/p>\n\u003cp>In 1910, Brigman separated from her husband. The reasons for the split are hazy. “He had his way of looking at things and I had mine,” Brigman told a reporter for the \u003ci>San Francisco Call \u003c/i>in 1913. “We developed along different lines,” Brigman is quoted saying in an article titled “Fear Retards Woman, Avers Mrs. Brigman.” After a pilgrimage to New York to meet with Stieglitz and others, she returned to Oakland and set up a new home, and was a grande dame of the local arts scene. Her studio became a gathering place for Northern California’s finest photographers, like Imogen Cunningham, Edward Weston, and Louise Dahl-Wolfe.\u003c/p>\n\u003cp>\u003cstrong>Why Brigman disappeared from view\u003c/strong>\u003c/p>\n\u003cp>Avant-garde artists began to back away from Pictorialism in the 1920s, although its lamp continued to flicker all the way to World War II. Johnson says the very aesthetic that helped to push photography as a serious artistic medium became an embarrassing, drippy reminder of the craft’s infancy. “It was almost written out of the history books,” Johnson says. “It was in such low critical repute for most of the second half of the 20\u003csup>th\u003c/sup> century.” Some of the very same photographers — like Adams, Cunningham and Weston — with whom Brigman had celebrated Romanticism, joined a different group dedicated to the modern aesthetic, called Group f/64.\u003c/p>\n\u003cp>[contextly_sidebar id=”f8pyw4aKMQQFTaA9zMyI7L8mJj63yuFg”]But Brigman couldn’t move on as decisively as many of her compatriots. When she moved south to Long Beach in 1929 to be near family, the photographer expanded her creative output to include drawings, prints, etchings and poetry. She created mock-ups for three books combining poems with photographs and her poems, one of which was published — \u003cem>Songs of a Pagan, \u003c/em>in\u003cem> \u003c/em>1949.\u003c/p>\n\u003cp>\u003cstrong>Her legacy today\u003c/strong>\u003c/p>\n\u003cp>Anne Brigman many not be a household name now. “Anne Brigman is very well known to photography historians,” McGrath says. “But not that well known to your average person.” However, her influence lingers, and can be seen in the work of artists like \u003ca href=\"http://www.spencertunick.com/\">Spencer Tunick\u003c/a>. \u003cem>\u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">In the Heart of the Wild\u003c/a> \u003c/em>offers a couple of examples, including this one from Bay Area-based artist Judy Dater.\u003c/p>\n\u003cfigure id=\"attachment_11812194\" class=\"wp-caption aligncenter\" style=\"max-width: 760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11812194\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-760x600.jpg\" alt=\"Judy Dater, 'Self Portrait with Stone,' 1981.\" width=\"760\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-760x600.jpg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-768x606.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-1180x932.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-960x758.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut.jpg 1330w\" sizes=\"(max-width: 760px) 100vw, 760px\">\u003cfigcaption class=\"wp-caption-text\">Judy Dater, ‘Self Portrait with Stone,’ 1981. \u003ccite>(Photo: Courtesy of Judy Dater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McGrath herself might not have known much more about Brigman than a few bullet points if she hadn’t been looking for a prominent artist with Los Gatos connections to profile. Now, after months of research and exploration, McGrath has grown fond of her. “Her enthusiasm, her passion for what she did, her love for the environment, and the fact she was always herself and true to what she wanted in her life,” McGrath says by way of explaining why this artists still resonates today. “She’s just delightful.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>In the Heart of the Wild: Anne Brigman and her Circle continues through Jan. 8, 2017. For more information, head \u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\n",
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"excerpt": "A new exhibition at New Museum Los Gatos sheds light on pioneering Pictorialist photographer Anne Brigman.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may not recognize her name, but you’ve probably seen one of Anne Brigman’s photos before. She photographed people — including herself — nude, in dramatic poses against wild, natural backdrops, often in the High Sierras. Her photographs have become textbook examples of “Pictorialism,” a phase in photographic history which flourished in the late 19th and early 20th centuries — a time when photographers tried to justify their worth in a world more fond of painting. Pictorialist photographers manipulated their images to make them look more like “artistic creations” than mere realistic snaps of a subject.\u003c/p>\n\u003cp>“Photography was a new medium then,” says\u003cstrong> \u003c/strong>Marianne McGrath, curator at New Museum Los Gatos, which is showing \u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Heart of the Wild: Anne Brigman and her Circle\u003c/em>\u003c/a>. “Artists wanted to elevate photography to the level of other fields and be taken seriously.”\u003c/p>\n\u003cp>Brigman wanted to be taken seriously. A mere year after she took up photography in 1901, she wrote a letter to Alfred Stieglitz, the godfather of art photography of her day. Stieglitz rewarded Brigman’s moxie and talent by inducting her into the Photo-Secession movement. Photo-Secessionists championed the idea that a photograph need not be slavishly dedicated to the depiction of reality, but instead composed and even manipulated to deliver a compelling subjective vision.\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/274266602″&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/274266602″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Brigman was one of only a handful of west coast photographers to be accepted by the Photo-Secessionists. Stieglitz also published her photos in \u003cem>Camera Work\u003c/em>, his taste-making quarterly. “That was the publication that brought Anne Brigman to the forefront nationally and then internationally,” says McGrath.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brigman won awards here and abroad. Her work was exhibited all over the Bay Area, as well as in Chicago, New York, Tokyo and Madrid, to name just a few places. She helped photographer Francis Bruguière organize an exhibition of pictorial photographs for the 1915 Panama-Pacific International Exposition in San Francisco, at which she won the grand prize.\u003c/p>\n\u003cp>\u003cstrong>A pagan child of missionaries\u003c/strong>\u003c/p>\n\u003cp>This was not the life Brigman’s parents had in mind for their daughter. The child and grandchild of Christian missionaries, Brigman was born in Honolulu and moved to Los Gatos at age 16 with her parents. When she married a sea captain a few years later, she seemed to be heading towards a conventional life.\u003c/p>\n\u003cp>Brigman had dabbled in painting landscapes, along with many women of the day, but she also immersed herself in the Bay Area’s thriving bohemian artistic community. She developed friendships with artists like painter William Keith and author Jack London. She also wrote and acted in theatrical productions.\u003c/p>\n\u003cp>Advancing technology made photography more accessible and popular as the century turned, and Brigman adopted it with a passion. She created her first serious portrait — of her husband — in 1900, and quickly moved into the public sphere. She first exhibited her photographs in early 1902 at the San Francisco Photographic Salon. By May of that year, she won a prize in the First Los Angeles Photographic Salon, and saw some of her images published in \u003cem>Camera Craft.\u003c/em>\u003c/p>\n\u003cp>Brigman started taking multi-day hikes in the Sierra Nevada with her camera kit in tow. It was not the sort of thing many women did back then. “People didn’t have the equipment that we have today,” McGrath says. “There was no REI. She toted a heavy camera and a wooden tripod and enough supplies for these long ventures into the Sierras.”\u003c/p>\n\u003cfigure id=\"attachment_11812084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11812084 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-800x450.jpg\" alt=\"Detail of Anne Brigman,'Dawn,' 1912. Photogravure from Camera Work No. 38. "There’s something poetic in every photograph," says Marianne McGrath, curator at New Museum Los Gatos.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20156_Brigman_Dawn-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Anne Brigman,’Dawn,’ 1912. Photogravure from Camera Work No. 38. “There’s something poetic in every photograph,” says Marianne McGrath, curator at New Museum Los Gatos. \u003ccite>(Photo: Courtesy of Judy Dater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brigman’s models were family members, close friends, and often, herself. Her work hinted at a wild world full of fairies and nymphs, Greco-Roman mythology and also the pantheistic tales Brigman picked up during her childhood in Hawaii.\u003c/p>\n\u003cp>Brigman wasn’t the only female Pictorialist on the west coast, and she wasn’t the only Pictorialist doing nudes. Nevertheless, the effect of her images on the public was shocking.\u003c/p>\n\u003cp>“The style of nudes she did –- out in the open air, in high elevations in the Sierras with the bristle cone pines and the granite and so forth –- a lot of the photographic establishment was very critical of that,” says Drew Johnson, curator of photography and visual culture at the \u003ca href=\"http://collections.museumca.org/?q=list/taxonomy/term/1523\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a>. (Oakland has one of two top-tier collections of Brigman’s work in the U.S., alongside the \u003ca href=\"http://www.geh.org/ar/strip81/htmlsrc/brigmanetal_sum00002.html\" target=\"_blank\" rel=\"noopener\">George Eastman House\u003c/a> in Rochester, New York.) “They would say things like ‘She takes these scrawny, skinny California women, and just sticks them in a tree or something.’ Of course, from her point of view, she was exalting the athletic Western woman.”\u003c/p>\n\u003cp>In 1910, Brigman separated from her husband. The reasons for the split are hazy. “He had his way of looking at things and I had mine,” Brigman told a reporter for the \u003ci>San Francisco Call \u003c/i>in 1913. “We developed along different lines,” Brigman is quoted saying in an article titled “Fear Retards Woman, Avers Mrs. Brigman.” After a pilgrimage to New York to meet with Stieglitz and others, she returned to Oakland and set up a new home, and was a grande dame of the local arts scene. Her studio became a gathering place for Northern California’s finest photographers, like Imogen Cunningham, Edward Weston, and Louise Dahl-Wolfe.\u003c/p>\n\u003cp>\u003cstrong>Why Brigman disappeared from view\u003c/strong>\u003c/p>\n\u003cp>Avant-garde artists began to back away from Pictorialism in the 1920s, although its lamp continued to flicker all the way to World War II. Johnson says the very aesthetic that helped to push photography as a serious artistic medium became an embarrassing, drippy reminder of the craft’s infancy. “It was almost written out of the history books,” Johnson says. “It was in such low critical repute for most of the second half of the 20\u003csup>th\u003c/sup> century.” Some of the very same photographers — like Adams, Cunningham and Weston — with whom Brigman had celebrated Romanticism, joined a different group dedicated to the modern aesthetic, called Group f/64.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>But Brigman couldn’t move on as decisively as many of her compatriots. When she moved south to Long Beach in 1929 to be near family, the photographer expanded her creative output to include drawings, prints, etchings and poetry. She created mock-ups for three books combining poems with photographs and her poems, one of which was published — \u003cem>Songs of a Pagan, \u003c/em>in\u003cem> \u003c/em>1949.\u003c/p>\n\u003cp>\u003cstrong>Her legacy today\u003c/strong>\u003c/p>\n\u003cp>Anne Brigman many not be a household name now. “Anne Brigman is very well known to photography historians,” McGrath says. “But not that well known to your average person.” However, her influence lingers, and can be seen in the work of artists like \u003ca href=\"http://www.spencertunick.com/\">Spencer Tunick\u003c/a>. \u003cem>\u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">In the Heart of the Wild\u003c/a> \u003c/em>offers a couple of examples, including this one from Bay Area-based artist Judy Dater.\u003c/p>\n\u003cfigure id=\"attachment_11812194\" class=\"wp-caption aligncenter\" style=\"max-width: 760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11812194\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-760x600.jpg\" alt=\"Judy Dater, 'Self Portrait with Stone,' 1981.\" width=\"760\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-760x600.jpg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-768x606.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-1180x932.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut-960x758.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/RS20157_1981-Co.-Judy-Dater-qut.jpg 1330w\" sizes=\"(max-width: 760px) 100vw, 760px\">\u003cfigcaption class=\"wp-caption-text\">Judy Dater, ‘Self Portrait with Stone,’ 1981. \u003ccite>(Photo: Courtesy of Judy Dater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McGrath herself might not have known much more about Brigman than a few bullet points if she hadn’t been looking for a prominent artist with Los Gatos connections to profile. Now, after months of research and exploration, McGrath has grown fond of her. “Her enthusiasm, her passion for what she did, her love for the environment, and the fact she was always herself and true to what she wanted in her life,” McGrath says by way of explaining why this artists still resonates today. “She’s just delightful.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>In the Heart of the Wild: Anne Brigman and her Circle continues through Jan. 8, 2017. For more information, head \u003ca href=\"http://www.numulosgatos.org/exhibitions-2/2016/7/15/in-the-heart-of-the-wild-anne-brigman-and-her-circle\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
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