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"content": "\u003cp>Photographer \u003ca href=\"http://ashleyaross.com\">Ashley A. Ross\u003c/a> knew as early as high school that she wanted to pursue art as a career. After graduating from California College of the Arts in 2021, the Oakland artist has debuted her solo exhibition \u003cem>\u003ca href=\"https://www.moadsf.org/exhibitions/10-27-03\">10/27/03\u003c/a>\u003c/em> at the Museum of the African Diaspora – up now through March 5 – as part of their \u003ca href=\"https://www.moadsf.org/projects/emerging-artists-program\">Emerging Artists program\u003c/a>. The series of staged photographs, intermingled with documents from her personal archive, reflect on her religious upbringing as an only child in a Black, Apostolic Christian household. KQED talked with Ross about the exhibition, her craft and the ways she’s exploring her point of view as an artist.\u003c/p>\n\u003cp>\u003cstrong>Ariana Proehl: Where did the concept for \u003cem>10/27/03\u003c/em> come from? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ashley A. Ross:\u003c/strong> The project began a few years ago when I came across some personal memorabilia I hadn’t seen in a while. There was a particular certificate describing “your new spiritual birthday” with the date “10/27/03” and it had scriptures on it. That sparked a lot for me because at that point in time I was in my early 20s, I was at CCA in my sophomore year. I was really searching for my calling and what I want to say with my art. It made me think about growing up in a religious environment with a specific doctrine that was heavily focused on this idea of rebirth, being “born again” and the concepts of sin and being a saint — all of these heavy concepts that we as adults still have a hard time trying to rationalize. And so it’s actually a certificate that I received when I was baptized and “born again” as a child. I pulled the name for the exhibition from that day and that certificate is actually in the show. I have a photo of me being baptized as a child, alongside portraits of my parents, portraits of this little girl who represents me as a child. And so I’m dealing with memory, the past and the present. \u003c/p>\n\u003cp>\u003cstrong>So what’s your relationship with these religious beliefs today? And what are your reflections coming out of putting the show together?\u003c/strong>\u003c/p>\n\u003cp>Right now, I don’t identify as a practicing Christian, but I think this project has been a great way for me to process these questions and these thoughts that I continue to have. People tend to have very strong opinions, either they’re against religion or really dedicated to their faith. But we don’t really talk about that in-between stage, you know, somebody who really doesn’t know, somebody who maybe has past experience with a religion and is kind of healing from that or is not far removed from that. Or somebody who is just like, “you know what? I don’t know what to think of it.” That’s what this project has meant for me, and it’s the conversation that I would like to have with other people. \u003c/p>\n\u003cfigure id=\"attachment_13925362\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200.jpg\" alt=\"Black-and-white image of a woman's figure draped in transparent fabric, standing in water\" width=\"1200\" height=\"1533\" class=\"size-full wp-image-13925362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200-800x1022.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200-1020x1303.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200-768x981.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashely A. Ross, ‘Who’s That Young Girl Dressed in White.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you talk about the decision you made to showcase this particular work as your debut – to have portraits, staged photographs and archival material included? And what you wanted to reveal about your aesthetic as a photographer? \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We have these black walls and how the lighting is situated, it really creates this intimate environment, kind of almost like you’re walking into somebody’s house, or in a silent film. A space that is very curated and intimate, which was my intention. \u003c/p>\n\u003cp>The staged black-and-white images were shot on film. There’s this technical element of analog photography that requires you to really slow down your process. With medium format, you have only 12 shots, depending on the camera — and film itself is an expensive process. So it requires you to sit and really look at what you’re trying to shoot and be precise with what each frame is going to show. So for me, that was the benefit of using the film camera and black-and-white. \u003c/p>\n\u003cp>As I mentioned, my parents are included in the exhibition and that allowed me time to sit and talk with them as I’m photographing them. The little girl who represents me in that photograph is my little cousin. I used her as my model. Even spending time with her — which, she did an excellent job — allowed me to really look at my surroundings, like, how is this going to aid the project? So I think it has been a foundation for what I hope my visual esthetic continues to be. \u003c/p>\n\u003cp>\u003cstrong>How do you envision your work going forward and what themes are you excited to explore?\u003c/strong>\u003c/p>\n\u003cp>I’ve been thinking a lot about labor and ideas around capitalism. More specifically, Black labor and that history within this country. Honestly, our current climate right now, economically and socially, has really inspired a lot of these questions I’ve been having about labor, the workforce, you know, how we value other human beings and what they contribute to society. \u003c/p>\n\u003cp>And as an artist, I feel like I’m in a kind of transitional stage right now. Like, what is my art practice right now? What do I want it to be? I’m definitely looking for my practice to be more interdisciplinary. I would love photography to be the foundation and the basis of my visual esthetic. But I would love to get into sculpture and installation. \u003ca href=\"https://www.theastergates.com/\">Theaster Gates\u003c/a> is an artist I really admire — how he creates sustainable ecosystems for people to be part of a community and communicate with each other. So I’m moving towards really creating experiences for when people come into a space, the exhibition is evolving. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘10/27/03’ is on view at the Museum of the African Diaspora in San Francisco through March 5. \u003ca href=\"https://www.moadsf.org/exhibitions/10-27-03\">Exhibition details here\u003c/a>. An in-person artist talk and reception takes place at the museum Saturday, March 4, 3–4 p.m. \u003ca href=\"https://www.moadsf.org/event/artist-talk-reception-emerging-artist-program-presents-ashley-a-ross-10-27-03\">Register to attend here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photographer \u003ca href=\"http://ashleyaross.com\">Ashley A. Ross\u003c/a> knew as early as high school that she wanted to pursue art as a career. After graduating from California College of the Arts in 2021, the Oakland artist has debuted her solo exhibition \u003cem>\u003ca href=\"https://www.moadsf.org/exhibitions/10-27-03\">10/27/03\u003c/a>\u003c/em> at the Museum of the African Diaspora – up now through March 5 – as part of their \u003ca href=\"https://www.moadsf.org/projects/emerging-artists-program\">Emerging Artists program\u003c/a>. The series of staged photographs, intermingled with documents from her personal archive, reflect on her religious upbringing as an only child in a Black, Apostolic Christian household. KQED talked with Ross about the exhibition, her craft and the ways she’s exploring her point of view as an artist.\u003c/p>\n\u003cp>\u003cstrong>Ariana Proehl: Where did the concept for \u003cem>10/27/03\u003c/em> come from? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ashley A. Ross:\u003c/strong> The project began a few years ago when I came across some personal memorabilia I hadn’t seen in a while. There was a particular certificate describing “your new spiritual birthday” with the date “10/27/03” and it had scriptures on it. That sparked a lot for me because at that point in time I was in my early 20s, I was at CCA in my sophomore year. I was really searching for my calling and what I want to say with my art. It made me think about growing up in a religious environment with a specific doctrine that was heavily focused on this idea of rebirth, being “born again” and the concepts of sin and being a saint — all of these heavy concepts that we as adults still have a hard time trying to rationalize. And so it’s actually a certificate that I received when I was baptized and “born again” as a child. I pulled the name for the exhibition from that day and that certificate is actually in the show. I have a photo of me being baptized as a child, alongside portraits of my parents, portraits of this little girl who represents me as a child. And so I’m dealing with memory, the past and the present. \u003c/p>\n\u003cp>\u003cstrong>So what’s your relationship with these religious beliefs today? And what are your reflections coming out of putting the show together?\u003c/strong>\u003c/p>\n\u003cp>Right now, I don’t identify as a practicing Christian, but I think this project has been a great way for me to process these questions and these thoughts that I continue to have. People tend to have very strong opinions, either they’re against religion or really dedicated to their faith. But we don’t really talk about that in-between stage, you know, somebody who really doesn’t know, somebody who maybe has past experience with a religion and is kind of healing from that or is not far removed from that. Or somebody who is just like, “you know what? I don’t know what to think of it.” That’s what this project has meant for me, and it’s the conversation that I would like to have with other people. \u003c/p>\n\u003cfigure id=\"attachment_13925362\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200.jpg\" alt=\"Black-and-white image of a woman's figure draped in transparent fabric, standing in water\" width=\"1200\" height=\"1533\" class=\"size-full wp-image-13925362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200-800x1022.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200-1020x1303.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/hi_res_Whos_That_Young_Girl_Dressed_In_White_AROSS_1200-768x981.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ashely A. Ross, ‘Who’s That Young Girl Dressed in White.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you talk about the decision you made to showcase this particular work as your debut – to have portraits, staged photographs and archival material included? And what you wanted to reveal about your aesthetic as a photographer? \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We have these black walls and how the lighting is situated, it really creates this intimate environment, kind of almost like you’re walking into somebody’s house, or in a silent film. A space that is very curated and intimate, which was my intention. \u003c/p>\n\u003cp>The staged black-and-white images were shot on film. There’s this technical element of analog photography that requires you to really slow down your process. With medium format, you have only 12 shots, depending on the camera — and film itself is an expensive process. So it requires you to sit and really look at what you’re trying to shoot and be precise with what each frame is going to show. So for me, that was the benefit of using the film camera and black-and-white. \u003c/p>\n\u003cp>As I mentioned, my parents are included in the exhibition and that allowed me time to sit and talk with them as I’m photographing them. The little girl who represents me in that photograph is my little cousin. I used her as my model. Even spending time with her — which, she did an excellent job — allowed me to really look at my surroundings, like, how is this going to aid the project? So I think it has been a foundation for what I hope my visual esthetic continues to be. \u003c/p>\n\u003cp>\u003cstrong>How do you envision your work going forward and what themes are you excited to explore?\u003c/strong>\u003c/p>\n\u003cp>I’ve been thinking a lot about labor and ideas around capitalism. More specifically, Black labor and that history within this country. Honestly, our current climate right now, economically and socially, has really inspired a lot of these questions I’ve been having about labor, the workforce, you know, how we value other human beings and what they contribute to society. \u003c/p>\n\u003cp>And as an artist, I feel like I’m in a kind of transitional stage right now. Like, what is my art practice right now? What do I want it to be? I’m definitely looking for my practice to be more interdisciplinary. I would love photography to be the foundation and the basis of my visual esthetic. But I would love to get into sculpture and installation. \u003ca href=\"https://www.theastergates.com/\">Theaster Gates\u003c/a> is an artist I really admire — how he creates sustainable ecosystems for people to be part of a community and communicate with each other. So I’m moving towards really creating experiences for when people come into a space, the exhibition is evolving. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘10/27/03’ is on view at the Museum of the African Diaspora in San Francisco through March 5. \u003ca href=\"https://www.moadsf.org/exhibitions/10-27-03\">Exhibition details here\u003c/a>. An in-person artist talk and reception takes place at the museum Saturday, March 4, 3–4 p.m. \u003ca href=\"https://www.moadsf.org/event/artist-talk-reception-emerging-artist-program-presents-ashley-a-ross-10-27-03\">Register to attend here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For Rolls and Tubes Collective, Toilet Paper Became a Creative Medium During Pandemic",
"headTitle": "For Rolls and Tubes Collective, Toilet Paper Became a Creative Medium During Pandemic | KQED",
"content": "\u003cp>I was scrolling Instagram as I worked on the first draft of this review (don’t judge) when a post from \u003ca href=\"https://www.instagram.com/p/CoWCvVYOc06/?hl=en\">@vodkalana\u003c/a> presented itself as the (chef’s kiss) perfect introduction. In one shared meme, she summarized quarantine and its after-effects: “Joe Exotic, banana bread, and fist fights over toilet paper.”\u003c/p>\n\u003cp>Thankfully, we’re well past that final phase. While the supply-chain issues aren’t completely resolved, we’re closer to life before the pandemic than we ever have been. Moving forward, though, may require that we take deeper stock of the earliest worry-filled pandemic days. \u003c/p>\n\u003cp>The latest exhibition at Noe Valley’s \u003ca href=\"https://www.chung24gallery.com/\">Chung 24 Gallery\u003c/a> presents the work of four Bay Area artists who navigated that fraught moment through humor, mutual support and creative challenges responding to the history of photography.\u003c/p>\n\u003cfigure id=\"attachment_13925030\" class=\"wp-caption aligncenter\" style=\"max-width: 1928px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Sampson_Kruger-scaled.jpg\" alt=\"Close-up image of Donald Trumps face with white text on red block reading 'LOSER' over his nose\" width=\"1928\" height=\"2560\" class=\"size-full wp-image-13925030\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-scaled.jpg 1928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-800x1062.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-1020x1355.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-1157x1536.jpg 1157w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-1542x2048.jpg 1542w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-1920x2550.jpg 1920w\" sizes=\"(max-width: 1928px) 100vw, 1928px\">\u003cfigcaption class=\"wp-caption-text\">Jenny Sampson, ‘Loser,’ 2020; after Barbara Kruger for New York Magazine, 2016. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://rollsandtubes.com/home.html\">Rolls and Tubes Collective\u003c/a> — Christy McDonald, Colleen Mullins, Jenny Sampson and Nicole White — started as a monthly critique group in early 2020. After one in-person meeting, the group pivoted to virtual gatherings and, given the quarantine context, struggled to produce meaningful work. One member posed a challenge: using toilet paper, recreate any image from the history of photography in two hours. The prompt supplied the artists with purpose and unanticipated joy, two forces that many of us gravely struggled to muster as the weeks and months dragged on.\u003c/p>\n\u003cp>The exhibition’s title, \u003ci>A History of Photography\u003c/i>, may set audience expectations of seeing black-and-white photographs reinterpreted. While the bulk of the compositions fall into that category, pieces recalling significant color images are also present. If curious about the source material, visitors are invited to scan QR codes provided by gallerist Diane Chung that link to the 31 exhibited photographs, which cover the medium’s sprawling 184-year history. It’s an elegant, context-setting solution. Rolls and Tubes Collective’s unique compositions stand on their own creative ground, without burdensome side-by-side comparisons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Representing the medium’s contemporary and mixed media history, Jenny Sampson’s \u003ci>Loser\u003c/i> riffs on artist Barbara Kruger’s 2017 \u003ca href=\"https://nymag.com/press/2016/10/cover-donald-trump-by-barbara-kruger-for-the-election-issue.html\">\u003ci>New York Magazine\u003c/i>\u003c/a> cover that foretold former President Trump’s disastrous tenure and his paramount failure: comprehending the grave existential threat COVID-19 posed. \u003c/p>\n\u003cfigure id=\"attachment_13925031\" class=\"wp-caption aligncenter\" style=\"max-width: 2094px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/White_Outerbridge-scaled.jpg\" alt=\"White hand with red nails touches unrolled toilet paper among cut-outs of red roses on teal background\" width=\"2094\" height=\"2560\" class=\"size-full wp-image-13925031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-scaled.jpg 2094w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-800x978.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-1020x1247.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-768x939.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-1257x1536.jpg 1257w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-1676x2048.jpg 1676w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-1920x2347.jpg 1920w\" sizes=\"(max-width: 2094px) 100vw, 2094px\">\u003cfigcaption class=\"wp-caption-text\">Nicole White, ‘Advertisement,’ 2020, after Paul Outerbridge Jr., ‘Advertisement,’ 1938. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nicole White’s \u003ci>Advertisement\u003c/i> — the only piece that draws on source material that includes toilet paper — mirrors Paul Outerbridge Jr.’s image for a 1936 Scott Paper Company campaign. Positioned against a vibrant teal backdrop and a bed of red rose blossoms, a perfectly manicured hand gestures to the toilet paper rolls in both photographs. Together, they illustrate performative mid-century ideas of domesticity and femininity, and how profoundly advertising still shapes the contours of life in wealthy, commodity-driven Western countries.\u003c/p>\n\u003cp>In \u003ci>Charmin, San Francisco\u003c/i>, after Harry Callahan’s \u003ci>Eleanor, Chicago\u003c/i> (1947), Colleen Mullins interpreted Callahan’s loving portrait of his wife’s derriere as twin stacks of toilet paper. Mullins’ composition is one of many in this installation that remind me how formally powerful photographs can be. Perhaps inadvertently, the image references the intended use of toilet paper. \u003c/p>\n\u003cfigure id=\"attachment_13925033\" class=\"wp-caption aligncenter\" style=\"max-width: 1724px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/White_Pierson-scaled.jpg\" alt=\"Black-and-white image of person looking through cut-out paper, wrapped in sheet\" width=\"1724\" height=\"2560\" class=\"size-full wp-image-13925033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-scaled.jpg 1724w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-800x1188.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-1020x1515.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-768x1140.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-1034x1536.jpg 1034w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-1379x2048.jpg 1379w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-1920x2851.jpg 1920w\" sizes=\"(max-width: 1724px) 100vw, 1724px\">\u003cfigcaption class=\"wp-caption-text\">Nicole White, ‘Shelter-in-Place Official Portrait,’ 2020; after Pierre-Louis Pierson, ‘Scherzo di Follia,’ 1863/66. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As curator Corey Keller wrote in her brilliant catalog essay, “commonplace and scarce, virginally blank and ultimately scatological, toilet paper embraces a surprising range of contradictions.” \u003ci>San Francisco\u003c/i>, Christy McDonald’s interpretation of Josef Koudelka’s potent 1968 image \u003ci>Prague\u003c/i>, pleasantly raised the hairs on my arms. McDonald photographed herself, or someone else, wearing a watch and holding a fluttering toilet paper roll with a view of the Transamerica Pyramid in the background. In Koudelka’s iconic scene, we witness an eerie calm before the Soviets invade and violently subdue the Prague Spring resistance movement. McDonald’s view of a formerly bustling North Beach street is likewise unsettling, recalling how empty San Francisco and other urban centers felt.\u003c/p>\n\u003cp>Watching the artists and excited guests step into Chung 24 Gallery for the opening reception on a recent rainy Saturday afternoon, the anxiety that I and many of us once felt about quarantine isolation started to ease. Instead, I felt a warm and abiding appreciation for the extraordinary professional community that surrounded me, the Rolls and Tubes Collective artists included. \u003c/p>\n\u003cp>If the smiles of recognition and reunion led to talk of Joe Exotic or making bread or sourcing toilet paper, I don’t know. It doesn’t matter. Rolls and Tubes Collective’s \u003ci>A History of Photography\u003c/i> invites their community to marvel at a project that began as a way to defeat creative block, and transformed into an appreciation of photographic history through loving homage.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Rolls and Tubes Collective’s ‘A History of Photography’ is on view at Chung 24 Gallery (4071 24th St., San Francisco) through March 11. \u003ca href=\"https://www.chung24gallery.com/current-exhibition\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I was scrolling Instagram as I worked on the first draft of this review (don’t judge) when a post from \u003ca href=\"https://www.instagram.com/p/CoWCvVYOc06/?hl=en\">@vodkalana\u003c/a> presented itself as the (chef’s kiss) perfect introduction. In one shared meme, she summarized quarantine and its after-effects: “Joe Exotic, banana bread, and fist fights over toilet paper.”\u003c/p>\n\u003cp>Thankfully, we’re well past that final phase. While the supply-chain issues aren’t completely resolved, we’re closer to life before the pandemic than we ever have been. Moving forward, though, may require that we take deeper stock of the earliest worry-filled pandemic days. \u003c/p>\n\u003cp>The latest exhibition at Noe Valley’s \u003ca href=\"https://www.chung24gallery.com/\">Chung 24 Gallery\u003c/a> presents the work of four Bay Area artists who navigated that fraught moment through humor, mutual support and creative challenges responding to the history of photography.\u003c/p>\n\u003cfigure id=\"attachment_13925030\" class=\"wp-caption aligncenter\" style=\"max-width: 1928px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Sampson_Kruger-scaled.jpg\" alt=\"Close-up image of Donald Trumps face with white text on red block reading 'LOSER' over his nose\" width=\"1928\" height=\"2560\" class=\"size-full wp-image-13925030\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-scaled.jpg 1928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-800x1062.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-1020x1355.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-1157x1536.jpg 1157w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-1542x2048.jpg 1542w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Sampson_Kruger-1920x2550.jpg 1920w\" sizes=\"(max-width: 1928px) 100vw, 1928px\">\u003cfigcaption class=\"wp-caption-text\">Jenny Sampson, ‘Loser,’ 2020; after Barbara Kruger for New York Magazine, 2016. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://rollsandtubes.com/home.html\">Rolls and Tubes Collective\u003c/a> — Christy McDonald, Colleen Mullins, Jenny Sampson and Nicole White — started as a monthly critique group in early 2020. After one in-person meeting, the group pivoted to virtual gatherings and, given the quarantine context, struggled to produce meaningful work. One member posed a challenge: using toilet paper, recreate any image from the history of photography in two hours. The prompt supplied the artists with purpose and unanticipated joy, two forces that many of us gravely struggled to muster as the weeks and months dragged on.\u003c/p>\n\u003cp>The exhibition’s title, \u003ci>A History of Photography\u003c/i>, may set audience expectations of seeing black-and-white photographs reinterpreted. While the bulk of the compositions fall into that category, pieces recalling significant color images are also present. If curious about the source material, visitors are invited to scan QR codes provided by gallerist Diane Chung that link to the 31 exhibited photographs, which cover the medium’s sprawling 184-year history. It’s an elegant, context-setting solution. Rolls and Tubes Collective’s unique compositions stand on their own creative ground, without burdensome side-by-side comparisons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Representing the medium’s contemporary and mixed media history, Jenny Sampson’s \u003ci>Loser\u003c/i> riffs on artist Barbara Kruger’s 2017 \u003ca href=\"https://nymag.com/press/2016/10/cover-donald-trump-by-barbara-kruger-for-the-election-issue.html\">\u003ci>New York Magazine\u003c/i>\u003c/a> cover that foretold former President Trump’s disastrous tenure and his paramount failure: comprehending the grave existential threat COVID-19 posed. \u003c/p>\n\u003cfigure id=\"attachment_13925031\" class=\"wp-caption aligncenter\" style=\"max-width: 2094px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/White_Outerbridge-scaled.jpg\" alt=\"White hand with red nails touches unrolled toilet paper among cut-outs of red roses on teal background\" width=\"2094\" height=\"2560\" class=\"size-full wp-image-13925031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-scaled.jpg 2094w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-800x978.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-1020x1247.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-768x939.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-1257x1536.jpg 1257w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-1676x2048.jpg 1676w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Outerbridge-1920x2347.jpg 1920w\" sizes=\"(max-width: 2094px) 100vw, 2094px\">\u003cfigcaption class=\"wp-caption-text\">Nicole White, ‘Advertisement,’ 2020, after Paul Outerbridge Jr., ‘Advertisement,’ 1938. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nicole White’s \u003ci>Advertisement\u003c/i> — the only piece that draws on source material that includes toilet paper — mirrors Paul Outerbridge Jr.’s image for a 1936 Scott Paper Company campaign. Positioned against a vibrant teal backdrop and a bed of red rose blossoms, a perfectly manicured hand gestures to the toilet paper rolls in both photographs. Together, they illustrate performative mid-century ideas of domesticity and femininity, and how profoundly advertising still shapes the contours of life in wealthy, commodity-driven Western countries.\u003c/p>\n\u003cp>In \u003ci>Charmin, San Francisco\u003c/i>, after Harry Callahan’s \u003ci>Eleanor, Chicago\u003c/i> (1947), Colleen Mullins interpreted Callahan’s loving portrait of his wife’s derriere as twin stacks of toilet paper. Mullins’ composition is one of many in this installation that remind me how formally powerful photographs can be. Perhaps inadvertently, the image references the intended use of toilet paper. \u003c/p>\n\u003cfigure id=\"attachment_13925033\" class=\"wp-caption aligncenter\" style=\"max-width: 1724px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/White_Pierson-scaled.jpg\" alt=\"Black-and-white image of person looking through cut-out paper, wrapped in sheet\" width=\"1724\" height=\"2560\" class=\"size-full wp-image-13925033\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-scaled.jpg 1724w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-800x1188.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-1020x1515.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-768x1140.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-1034x1536.jpg 1034w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-1379x2048.jpg 1379w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/White_Pierson-1920x2851.jpg 1920w\" sizes=\"(max-width: 1724px) 100vw, 1724px\">\u003cfigcaption class=\"wp-caption-text\">Nicole White, ‘Shelter-in-Place Official Portrait,’ 2020; after Pierre-Louis Pierson, ‘Scherzo di Follia,’ 1863/66. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As curator Corey Keller wrote in her brilliant catalog essay, “commonplace and scarce, virginally blank and ultimately scatological, toilet paper embraces a surprising range of contradictions.” \u003ci>San Francisco\u003c/i>, Christy McDonald’s interpretation of Josef Koudelka’s potent 1968 image \u003ci>Prague\u003c/i>, pleasantly raised the hairs on my arms. McDonald photographed herself, or someone else, wearing a watch and holding a fluttering toilet paper roll with a view of the Transamerica Pyramid in the background. In Koudelka’s iconic scene, we witness an eerie calm before the Soviets invade and violently subdue the Prague Spring resistance movement. McDonald’s view of a formerly bustling North Beach street is likewise unsettling, recalling how empty San Francisco and other urban centers felt.\u003c/p>\n\u003cp>Watching the artists and excited guests step into Chung 24 Gallery for the opening reception on a recent rainy Saturday afternoon, the anxiety that I and many of us once felt about quarantine isolation started to ease. Instead, I felt a warm and abiding appreciation for the extraordinary professional community that surrounded me, the Rolls and Tubes Collective artists included. \u003c/p>\n\u003cp>If the smiles of recognition and reunion led to talk of Joe Exotic or making bread or sourcing toilet paper, I don’t know. It doesn’t matter. Rolls and Tubes Collective’s \u003ci>A History of Photography\u003c/i> invites their community to marvel at a project that began as a way to defeat creative block, and transformed into an appreciation of photographic history through loving homage.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Rolls and Tubes Collective’s ‘A History of Photography’ is on view at Chung 24 Gallery (4071 24th St., San Francisco) through March 11. \u003ca href=\"https://www.chung24gallery.com/current-exhibition\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Growing up, Jordan Jimenez told his mom that he hoped to make history as a Filipino American player in the NBA. And though he didn’t achieve that lofty goal, the 25-year-old, born and raised in the Bay Area, has still managed to turn himself into one of the sport’s premier shooters — with an assist from his camera.\u003c/p>\n\u003cp>On Friday, Jan. 6, Jimenez celebrated his inspiring journey as a photographer with \u003cem>As Told By\u003c/em>, his pop-up exhibit at Ciel Creative Spaces in Berkeley. The one-night event featured over 260 photos that Jimenez has taken since bursting onto the scene in 2018, when he first launched his brand, \u003ca href=\"https://www.instagram.com/__jsquared/\">Jsquared Visuals\u003c/a>. The diverse collection of photographs — which largely centers around basketball celebrities, but also features musical artists and his travels abroad — was the photographer’s debut show, something he is openly grateful about.\u003c/p>\n\u003cp>“I started out by shooting high school games and even fourth graders in the community,” he says. “I went through seven years worth of hard drives for this gallery. I wanted people to see that. I didn’t always work with the Warriors. After I dropped out [from college], I photographed lots of other things before I got to this point.”\u003c/p>\n\u003ch2>An uncanny sense of timing\u003c/h2>\n\u003cp>After hustling as a freelance photographer since the age of 17 — working with \u003cem>SLAM Magazine\u003c/em>, Under Armour and other notable NBA brands — Jimenez left the University of San Francisco to pursue his independent creative passion. Since then, he has befriended some of the most influential athletes in basketball, including his biggest collaborative teammate: Golden State Warriors shooting guard, Jordan Poole.\u003c/p>\n\u003cfigure id=\"attachment_13923524\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/IMG_7140-800x533.jpg\" alt=\"a wall of photos, featuring Jordan Poole of the Golden State Warriors\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7140-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7140-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7140-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7140-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7140-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7140-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7140-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The largest display featured Jordan Poole’s highlights from his career with the Warriors. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two met in 2019 at an invitational game on the Peninsula, when Poole was still a relatively unknown rookie training with athletes like former Warrior Juan Toscano-Anderson. Jimenez and Poole bonded over video games and music interests, and it’s been a Poole Party ever since. They’ve taken thousands of big-time shots for Dub Nation together, with Poole on the court and Jimenez off, as Poole’s personal photographer and friend. Jimenez has made plenty of big splashes during that run.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"https://www.si.com/fannation/nba/fastbreak/news/viral-photo-of-steph-curry-check-out-this-amazing-picture-from-the-warriors-win-over-the-bulls-on-friday\">internet-breaking photograph of Steph Curry\u003c/a> looking away from his imminent three-pointer while teammates and defenders stare at the rim? That was Jimenez. A close-up of Gary Payton II cradling the NBA championship trophy with a cigar dangling from his mouth? Jimenez, too. What about Jordan Poole’s buzzer-beating heave from half court to change the tides of that Finals series against Boston? Yup, “\u003ca href=\"https://twitter.com/_jordanjimenez\">You Know Who Shot It\u003c/a>.” All were on view at Ciel Creative Spaces last Friday.\u003c/p>\n\u003cp>With an uncanny sense of timing and a humble, almost quiet approach to photography that allows him to capture his subjects in their biggest, most human moments, Jimenez has naturally become a star on social media among his fans and community.\u003c/p>\n\u003cp>Jimenez intentionally kept everything free, even providing food and drinks for guests. Sharing his work with his audience without the intent of turning a profit is a big point for Jimenez, who wants his recreational work to remain accessible to all.\u003c/p>\n\u003cp>“I don’t really see many Filipinos in media, so his work immediately resonated with me,” says Ralph Antonio, a 23-year-old student at San Francisco State University who was at the show to see Jimenez’s work up close. “As a Warriors fan, his photos capture the team in a way that people can gather around. That’s special. Being a young Filipino from the Bay, he inspired me for sure.”\u003c/p>\n\u003ch2>‘A win for the village’\u003c/h2>\n\u003cp>Jimenez has already built an impressive portfolio of high-profile clients, including generational hoopers like Steph Curry, Sabrina Ionescu and Zion Williamson, as well as entertainers like P-Lo, Rick Ross and Wiz Khalifa. But working with celebrities hasn’t changed who he is; his success has only motivated him to create more opportunities for his community.\u003c/p>\n\u003cfigure id=\"attachment_13923523\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/IMG_7183-800x533.jpg\" alt=\"local photographer, Jordan Jimenez, stands in front of his basketball portraits, with his family by his side\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7183-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7183-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7183-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7183-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7183-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7183-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7183-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jordan Jimenez is joined by his family at his debut photography exhibit, “As Told By.” \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that spirit, Jimenez has collaborated with local, Filipino-owned streetwear companies like \u003ca href=\"https://collectandselect.com/\">Collect and Select\u003c/a>. The underground purveyors were on deck at the exhibition with a merch booth to premiere a limited-edition design: \u003ca href=\"https://twitter.com/collect__select/status/1611481189935902721\">a pair of mint-green shorts\u003c/a> with white trim and a late-90s Warriors thunderbolt streaking down the sides. The design is reminiscent of Jimenez’s youth, when his mom would take him to Oracle Arena, formerly known The Arena in Oakland, to see the Warriors play (with Thunder, their mascot from 1997–2007).\u003c/p>\n\u003cp>“We drove from San Bruno and took him to his first game at Oracle in third grade for his birthday,” Lisa Rome, Jimenez’s mother, tells me. “He was so hyper to see the mascot, Thunder. It’s amazing to see where he is now and still loving basketball.”\u003c/p>\n\u003cp>Perhaps what most stood out at Jimenez’s function — in addition to the impressive range of basketball memories he has documented — is the tangible love and inspiration expressed among his family and network of friends and supporters. Hundreds of fans and fellow creatives from around the Bay were in attendance, including \u003ca href=\"https://www.instagram.com/_joewallace/?hl=en\">Joe Wallace\u003c/a>, a San Francisco-based designer; Anthony Presents, creator of \u003ca href=\"https://www.kqed.org/arts/13917810/lumpia-festival-filipino-food-district-six-sf\">Lumpia Lands\u003c/a>; and various members of the niche brand, \u003ca href=\"https://whocaressupplyco.com/\">Who Cares Supply Co\u003c/a>.\u003c/p>\n\u003cp>“It’s a win for the village,” Jimenez says.\u003c/p>\n\u003ch2>Telling stories of joy\u003c/h2>\n\u003cp>The event, which took four months to plan, lasted only six hours. But the good vibes and celebratory atmosphere are something Jimenez wants to recreate.\u003c/p>\n\u003cp>“I want to do it again, but it’ll be a much more focused gallery, not seven years of work,” he laughs. “I want to keep the ‘As Told By’ theme. It was a beautiful moment, having the community together. It’s hard to get everyone in one room. Taking a step back and seeing my big family help me put the photos up and be there, that was a highlight.”\u003c/p>\n\u003cfigure id=\"attachment_13923525\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923525\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/IMG_7133-800x533.jpg\" alt=\"a group of viewers mingle at a photography gallery\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7133-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7133-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7133-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7133-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7133-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7133-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7133-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of friends, fans and family gather for Jordan Jimenez’s pop-up gallery in Berkeley. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ask him about his favorite photo on display, he pointed to one of Poole celebrating a hard-earned championship.\u003c/p>\n\u003cp>“I know how much work it took for him to get there. He has worked so hard,” says Jimenez. “For him to celebrate that, for our families, with all the people who counted him out. To see him on a boat in Italy after winning a championship, that was a highlight.”\u003c/p>\n\u003cp>In many ways, the photo captures Jimenez’s belief in collective growth and communal success — and the stories of joy he plans to continue telling with his camera. Until his next big gathering, he’ll be in the gym, doing what he has loved since he was a kid: taking shots.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.instagram.com/__jsquared/\">Jsquared\u003c/a> covers home games for the Golden State Warriors throughout the season. His photographs are available in his \u003ca href=\"https://www.jsquaredvisuals.com/store\">online shop\u003c/a>. Stay tuned for a future ‘As Told By’ pop-up event.\u003c/i>\u003c/p>\n\n",
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"headline": "Jordan Jimenez’s Path to Viral Photos Has Been Years in the Making",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up, Jordan Jimenez told his mom that he hoped to make history as a Filipino American player in the NBA. And though he didn’t achieve that lofty goal, the 25-year-old, born and raised in the Bay Area, has still managed to turn himself into one of the sport’s premier shooters — with an assist from his camera.\u003c/p>\n\u003cp>On Friday, Jan. 6, Jimenez celebrated his inspiring journey as a photographer with \u003cem>As Told By\u003c/em>, his pop-up exhibit at Ciel Creative Spaces in Berkeley. The one-night event featured over 260 photos that Jimenez has taken since bursting onto the scene in 2018, when he first launched his brand, \u003ca href=\"https://www.instagram.com/__jsquared/\">Jsquared Visuals\u003c/a>. The diverse collection of photographs — which largely centers around basketball celebrities, but also features musical artists and his travels abroad — was the photographer’s debut show, something he is openly grateful about.\u003c/p>\n\u003cp>“I started out by shooting high school games and even fourth graders in the community,” he says. “I went through seven years worth of hard drives for this gallery. I wanted people to see that. I didn’t always work with the Warriors. After I dropped out [from college], I photographed lots of other things before I got to this point.”\u003c/p>\n\u003ch2>An uncanny sense of timing\u003c/h2>\n\u003cp>After hustling as a freelance photographer since the age of 17 — working with \u003cem>SLAM Magazine\u003c/em>, Under Armour and other notable NBA brands — Jimenez left the University of San Francisco to pursue his independent creative passion. Since then, he has befriended some of the most influential athletes in basketball, including his biggest collaborative teammate: Golden State Warriors shooting guard, Jordan Poole.\u003c/p>\n\u003cfigure id=\"attachment_13923524\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/IMG_7140-800x533.jpg\" alt=\"a wall of photos, featuring Jordan Poole of the Golden State Warriors\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7140-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7140-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7140-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7140-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7140-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7140-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7140-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The largest display featured Jordan Poole’s highlights from his career with the Warriors. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two met in 2019 at an invitational game on the Peninsula, when Poole was still a relatively unknown rookie training with athletes like former Warrior Juan Toscano-Anderson. Jimenez and Poole bonded over video games and music interests, and it’s been a Poole Party ever since. They’ve taken thousands of big-time shots for Dub Nation together, with Poole on the court and Jimenez off, as Poole’s personal photographer and friend. Jimenez has made plenty of big splashes during that run.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.si.com/fannation/nba/fastbreak/news/viral-photo-of-steph-curry-check-out-this-amazing-picture-from-the-warriors-win-over-the-bulls-on-friday\">internet-breaking photograph of Steph Curry\u003c/a> looking away from his imminent three-pointer while teammates and defenders stare at the rim? That was Jimenez. A close-up of Gary Payton II cradling the NBA championship trophy with a cigar dangling from his mouth? Jimenez, too. What about Jordan Poole’s buzzer-beating heave from half court to change the tides of that Finals series against Boston? Yup, “\u003ca href=\"https://twitter.com/_jordanjimenez\">You Know Who Shot It\u003c/a>.” All were on view at Ciel Creative Spaces last Friday.\u003c/p>\n\u003cp>With an uncanny sense of timing and a humble, almost quiet approach to photography that allows him to capture his subjects in their biggest, most human moments, Jimenez has naturally become a star on social media among his fans and community.\u003c/p>\n\u003cp>Jimenez intentionally kept everything free, even providing food and drinks for guests. Sharing his work with his audience without the intent of turning a profit is a big point for Jimenez, who wants his recreational work to remain accessible to all.\u003c/p>\n\u003cp>“I don’t really see many Filipinos in media, so his work immediately resonated with me,” says Ralph Antonio, a 23-year-old student at San Francisco State University who was at the show to see Jimenez’s work up close. “As a Warriors fan, his photos capture the team in a way that people can gather around. That’s special. Being a young Filipino from the Bay, he inspired me for sure.”\u003c/p>\n\u003ch2>‘A win for the village’\u003c/h2>\n\u003cp>Jimenez has already built an impressive portfolio of high-profile clients, including generational hoopers like Steph Curry, Sabrina Ionescu and Zion Williamson, as well as entertainers like P-Lo, Rick Ross and Wiz Khalifa. But working with celebrities hasn’t changed who he is; his success has only motivated him to create more opportunities for his community.\u003c/p>\n\u003cfigure id=\"attachment_13923523\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/IMG_7183-800x533.jpg\" alt=\"local photographer, Jordan Jimenez, stands in front of his basketball portraits, with his family by his side\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7183-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7183-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7183-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7183-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7183-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7183-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7183-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jordan Jimenez is joined by his family at his debut photography exhibit, “As Told By.” \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that spirit, Jimenez has collaborated with local, Filipino-owned streetwear companies like \u003ca href=\"https://collectandselect.com/\">Collect and Select\u003c/a>. The underground purveyors were on deck at the exhibition with a merch booth to premiere a limited-edition design: \u003ca href=\"https://twitter.com/collect__select/status/1611481189935902721\">a pair of mint-green shorts\u003c/a> with white trim and a late-90s Warriors thunderbolt streaking down the sides. The design is reminiscent of Jimenez’s youth, when his mom would take him to Oracle Arena, formerly known The Arena in Oakland, to see the Warriors play (with Thunder, their mascot from 1997–2007).\u003c/p>\n\u003cp>“We drove from San Bruno and took him to his first game at Oracle in third grade for his birthday,” Lisa Rome, Jimenez’s mother, tells me. “He was so hyper to see the mascot, Thunder. It’s amazing to see where he is now and still loving basketball.”\u003c/p>\n\u003cp>Perhaps what most stood out at Jimenez’s function — in addition to the impressive range of basketball memories he has documented — is the tangible love and inspiration expressed among his family and network of friends and supporters. Hundreds of fans and fellow creatives from around the Bay were in attendance, including \u003ca href=\"https://www.instagram.com/_joewallace/?hl=en\">Joe Wallace\u003c/a>, a San Francisco-based designer; Anthony Presents, creator of \u003ca href=\"https://www.kqed.org/arts/13917810/lumpia-festival-filipino-food-district-six-sf\">Lumpia Lands\u003c/a>; and various members of the niche brand, \u003ca href=\"https://whocaressupplyco.com/\">Who Cares Supply Co\u003c/a>.\u003c/p>\n\u003cp>“It’s a win for the village,” Jimenez says.\u003c/p>\n\u003ch2>Telling stories of joy\u003c/h2>\n\u003cp>The event, which took four months to plan, lasted only six hours. But the good vibes and celebratory atmosphere are something Jimenez wants to recreate.\u003c/p>\n\u003cp>“I want to do it again, but it’ll be a much more focused gallery, not seven years of work,” he laughs. “I want to keep the ‘As Told By’ theme. It was a beautiful moment, having the community together. It’s hard to get everyone in one room. Taking a step back and seeing my big family help me put the photos up and be there, that was a highlight.”\u003c/p>\n\u003cfigure id=\"attachment_13923525\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923525\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/IMG_7133-800x533.jpg\" alt=\"a group of viewers mingle at a photography gallery\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7133-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7133-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7133-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7133-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7133-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7133-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/IMG_7133-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of friends, fans and family gather for Jordan Jimenez’s pop-up gallery in Berkeley. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ask him about his favorite photo on display, he pointed to one of Poole celebrating a hard-earned championship.\u003c/p>\n\u003cp>“I know how much work it took for him to get there. He has worked so hard,” says Jimenez. “For him to celebrate that, for our families, with all the people who counted him out. To see him on a boat in Italy after winning a championship, that was a highlight.”\u003c/p>\n\u003cp>In many ways, the photo captures Jimenez’s belief in collective growth and communal success — and the stories of joy he plans to continue telling with his camera. Until his next big gathering, he’ll be in the gym, doing what he has loved since he was a kid: taking shots.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.instagram.com/__jsquared/\">Jsquared\u003c/a> covers home games for the Golden State Warriors throughout the season. His photographs are available in his \u003ca href=\"https://www.jsquaredvisuals.com/store\">online shop\u003c/a>. Stay tuned for a future ‘As Told By’ pop-up event.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "honoring-dave-schubert-san-franciscos-wildest-street-photographer",
"title": "Honoring Dave Schubert, San Francisco’s Wildest Street Photographer",
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"headTitle": "Honoring Dave Schubert, San Francisco’s Wildest Street Photographer | KQED",
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"content": "\u003cp>On Friday morning, I got word that my favorite San Francisco photographer \u003ca href=\"https://www.instagram.com/daveschubertsf/\">Dave Schubert\u003c/a> had died suddenly. The long-time Mission District resident was discovered on Thursday, Jan. 5 by concerned friends at the 26th Street home Schubert lived in for two decades.\u003c/p>\n\u003cp>Schubert’s work had been a minor obsession of mine ever since 2005, when I first saw one of his photographs at a \u003ca href=\"https://www.kqed.org/arts/13936275/111-minna-30th-anniversary-show-review-jeremy-fish-alec-huxley-sam-flores-interview\">111 Minna\u003c/a> show. The photo in question — a chaotic 16th Street brawl involving seven people and a bicycle — has hung in my home ever since. It offers a perfect snapshot of Mission District nightlife as I knew it back then: a grimy, hedonistic community of bartenders, graffiti writers, skaters, punks and bike messengers.\u003c/p>\n\u003cfigure id=\"attachment_13923401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM-800x1226.png\" alt=\"A cluster of seven people push and pull each other in a street fight. A woman lies on the ground underneath it all, a bicycle laying on the ground in front of her.\" width=\"800\" height=\"1226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM-800x1226.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM-160x245.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM-768x1177.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM.png 860w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave Schubert captured this fight outside Delirium on 16th Street in 2003. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This underworld of smart-ass scrappers, non-stop taggers and street-fighting drunkards was a large part of why I fell in love with San Francisco in the first place. And Schubert documented all of it. Back then, in the late ’90s and early 2000s, it felt like there were no consequences for any amount of ill-advised behavior. If there \u003ci>was\u003c/i> trouble? Well, the story you told the next day was just that much better. In the 18 years since I first found Schubert’s work, no one has captured that chaos better than he did.\u003c/p>\n\u003cp>Schubert and I lived only a few blocks from each other in the Mission, so back in September 2022, I invited him out to lunch to talk about his work. He met me in the back of Old Jerusalem on Mission Street. In person, Schubert was sweet, polite, humble, and just a little wild-eyed. He told me right off the bat that he’d hit his head a lot over the years and showed me \u003ca href=\"https://www.instagram.com/p/CLDyx_BsECr/\">photos of him swollen and bleeding\u003c/a> to prove it. “Bloody head shots,” he called them. He had a whole collection.\u003c/p>\n\u003cfigure id=\"attachment_13923473\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923473\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-800x979.png\" alt=\"A young man with blood on his forehead and cheek, with a large lump forming on the side of his face, looks blankly at the camera. \" width=\"800\" height=\"979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-800x979.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-1020x1248.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-160x196.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-768x940.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM.png 1056w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Schubert’s self-portraits, this one documenting the aftermath of a bicycle accident. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Schubert was also incredibly smart; a scholar about the history of photography and an easy conversationalist. We talked for longer than I expected that day about a wide array of topics. We talked about Schubert’s earliest photography inspirations: \u003ca href=\"https://en.wikipedia.org/wiki/Bob_Richardson_(photographer)\">Bob Richardson\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Richard_Avedon\">Richard Avedon\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Robert_Frank\">Robert Frank\u003c/a>. We talked about the history of the Mission. We talked about dead friends, in particular \u003ca href=\"https://www.instagram.com/p/Cf0ZVR9u0DI/\">his best friend Dash Snow\u003c/a>, who Schubert memorialized with \u003ca href=\"https://panopticonpress.bigcartel.com/product/dash-i-miss-you-ap-edition\">a fanzine of photos\u003c/a> after Snow’s death in 2009.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Schubert moved to the city in 1995 after being awarded a scholarship to study photography at the \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. Once he arrived, Schubert immersed himself in the Bay’s thriving skateboarding and graffiti scene. Back on the East Coast, he’d been a prolific skate videographer, primarily in Washington, D.C. On that September day, we talked about his more recent work for \u003ca href=\"https://www.skatedeluxe.com/en/gx1000-shop\">GX1000\u003c/a>, his friend’s skate company.\u003c/p>\n\u003cfigure id=\"attachment_13923413\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923413\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM-800x956.png\" alt=\"A man wearing blue jeans, flannel shirt and a chicken head mask perches on top of a graffitied bathroom stall, money falling from his hands.\" width=\"800\" height=\"956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM-800x956.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM-160x191.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM-768x918.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM.png 1014w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photo taken at The Cock, a New York City gay bar. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Best of all, we talked about the trouble he’d found himself in while taking photos of strangers doing illegal things — a habit Schubert had that reflected his audacious approach to his craft. He told me of one incident when a group of sex workers attacked him for taking a photo of them smoking crack in the Tenderloin. Mid-attack, Schubert told me, one of them began biting his finger. Hard.\u003c/p>\n\u003cp>“I had just watched a nature film with sharks that week though,” Schubert casually told me. “And it said if you’re attacked by a reef shark, don’t pull your hand out of its mouth because your flesh will tear. Instead, hit it in the throat so it will release you. So that’s what I did. That’s how I got the prostitute off my finger.”\u003c/p>\n\u003cp>Talking to Schubert, these kinds of stories weren’t unusual. They were simply how he lived his life: on the edge, always adjacent to trouble, illuminating the darkest sides of city living with his camera, so that the rest of the world might see it too.\u003c/p>\n\u003cfigure id=\"attachment_13923404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-800x517.png\" alt=\"A man stands casually wearing black clothing and an San Francisco 49ers baseball cap, while a woman casually tags a Muni bus in San Francisco. The bus doors are still open.\" width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-800x517.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-1020x659.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-1536x993.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM.png 1550w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Every day acts of vandalism in SF, as captured by Dave Schubert. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He had a drive and passion for his work that is hard to find these days,” says Lindsay Mape, who first befriended Schubert in 1995. “I was studying painting at SFAI and he would sneak in with me and use the dark rooms all day long to print his film, while I painted in the studios downstairs. Then we would leave and go hang in the Mission or the TL all night, finding trouble, hanging with friends, laughing and chilling with my dog.\u003c/p>\n\u003cp>“He didn’t have a nasty bone in his body,” she remembers. “Genuinely the sweetest soul.”\u003c/p>\n\u003cp>Noah Lang of the San Francisco gallery \u003ca href=\"https://www.instagram.com/p/CnFgYPMS43k/\">Electric Works\u003c/a>, who first befriended Schubert in 1999, has similar memories of the photographer. “Even in his darkest times, he never had any anger,” Lang says. “He was an unstoppable force of positivity. He was very generous. He was interested in sharing everything that he had. He would have 17-year-old skaters email him saying they liked his work and he would just send them [a print]. He was not looking for fame or fortune ever. He just wanted enough money to live and make his books and that was pretty much it.\u003c/p>\n\u003cp>“I feel like street photographers are born noticers,” Lang continues. “They notice all the things that we see but don’t find remarkable, and then they synthesize it. Dave was a really great noticer and synthesizer of the coral reef around him. He knew everything about it. He could see it all and he would make a photo of it and turn normalcy into poetry in 1/60 of a second.”\u003c/p>\n\u003cfigure id=\"attachment_13923472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-800x512.png\" alt=\"\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-768x491.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-1536x983.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM.png 1910w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A very young Stevie Williams (skateboarder) poses between friends at Pulaski Park in Washington, D.C., 1993. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tributes poured in for Schubert over the weekend as news of his untimely death spread.\u003c/p>\n\u003cp>Artist \u003ca href=\"https://www.instagram.com/steveespopowers/\">Steve Powers wrote on Instagram\u003c/a>: “I don’t know a better photographer that shot both skateboarding and graffiti as well as Dave did, but, as he would say about bragging, ‘Don’t tell it, show it’ … Dave Schubert didn’t take pictures, he took the time to love and to show the love.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.juxtapoz.com/news/photography/the-chaos-he-memorialized-rip-san-francisco-photography-legend-dave-schubert/\">Evan Pricco of \u003cem>Juxtapoz\u003c/em> wrote\u003c/a>: “It feels as if an era of San Francisco has passed with the news of the death of photographer, Dave Schubert. Many of my earliest memories of art, of underground culture, of life being fucking lived, was through the lens and eye of Dave Schubert. He was telling me the story of my home city without me even being conscious of it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Noah Lang and friends have set up a fundraising campaign to save and preserve Dave Schubert’s photographic archive. \u003ca href=\"https://www.gofundme.com/f/dave-schuberts-photographic-legacy?qid=93785caa04562f1ed1bf1235d03c5de5\" target=\"_blank\" rel=\"noopener noreferrer\">Details can be found on their GoFundMe page\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>An exhibit of Schubert’s photography will be on display at San Francisco’s \u003ca href=\"https://etaletc.com/\">Et Al. Etc. Gallery\u003c/a> (2831 Mission Street) between July 29 and Aug. 18, 2023.\u003c/em>\u003c/p>\n\n",
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"title": "Honoring Dave Schubert, San Francisco’s Wildest Street Photographer | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday morning, I got word that my favorite San Francisco photographer \u003ca href=\"https://www.instagram.com/daveschubertsf/\">Dave Schubert\u003c/a> had died suddenly. The long-time Mission District resident was discovered on Thursday, Jan. 5 by concerned friends at the 26th Street home Schubert lived in for two decades.\u003c/p>\n\u003cp>Schubert’s work had been a minor obsession of mine ever since 2005, when I first saw one of his photographs at a \u003ca href=\"https://www.kqed.org/arts/13936275/111-minna-30th-anniversary-show-review-jeremy-fish-alec-huxley-sam-flores-interview\">111 Minna\u003c/a> show. The photo in question — a chaotic 16th Street brawl involving seven people and a bicycle — has hung in my home ever since. It offers a perfect snapshot of Mission District nightlife as I knew it back then: a grimy, hedonistic community of bartenders, graffiti writers, skaters, punks and bike messengers.\u003c/p>\n\u003cfigure id=\"attachment_13923401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM-800x1226.png\" alt=\"A cluster of seven people push and pull each other in a street fight. A woman lies on the ground underneath it all, a bicycle laying on the ground in front of her.\" width=\"800\" height=\"1226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM-800x1226.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM-160x245.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM-768x1177.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM.png 860w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave Schubert captured this fight outside Delirium on 16th Street in 2003. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This underworld of smart-ass scrappers, non-stop taggers and street-fighting drunkards was a large part of why I fell in love with San Francisco in the first place. And Schubert documented all of it. Back then, in the late ’90s and early 2000s, it felt like there were no consequences for any amount of ill-advised behavior. If there \u003ci>was\u003c/i> trouble? Well, the story you told the next day was just that much better. In the 18 years since I first found Schubert’s work, no one has captured that chaos better than he did.\u003c/p>\n\u003cp>Schubert and I lived only a few blocks from each other in the Mission, so back in September 2022, I invited him out to lunch to talk about his work. He met me in the back of Old Jerusalem on Mission Street. In person, Schubert was sweet, polite, humble, and just a little wild-eyed. He told me right off the bat that he’d hit his head a lot over the years and showed me \u003ca href=\"https://www.instagram.com/p/CLDyx_BsECr/\">photos of him swollen and bleeding\u003c/a> to prove it. “Bloody head shots,” he called them. He had a whole collection.\u003c/p>\n\u003cfigure id=\"attachment_13923473\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923473\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-800x979.png\" alt=\"A young man with blood on his forehead and cheek, with a large lump forming on the side of his face, looks blankly at the camera. \" width=\"800\" height=\"979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-800x979.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-1020x1248.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-160x196.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-768x940.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM.png 1056w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Schubert’s self-portraits, this one documenting the aftermath of a bicycle accident. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Schubert was also incredibly smart; a scholar about the history of photography and an easy conversationalist. We talked for longer than I expected that day about a wide array of topics. We talked about Schubert’s earliest photography inspirations: \u003ca href=\"https://en.wikipedia.org/wiki/Bob_Richardson_(photographer)\">Bob Richardson\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Richard_Avedon\">Richard Avedon\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Robert_Frank\">Robert Frank\u003c/a>. We talked about the history of the Mission. We talked about dead friends, in particular \u003ca href=\"https://www.instagram.com/p/Cf0ZVR9u0DI/\">his best friend Dash Snow\u003c/a>, who Schubert memorialized with \u003ca href=\"https://panopticonpress.bigcartel.com/product/dash-i-miss-you-ap-edition\">a fanzine of photos\u003c/a> after Snow’s death in 2009.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Schubert moved to the city in 1995 after being awarded a scholarship to study photography at the \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. Once he arrived, Schubert immersed himself in the Bay’s thriving skateboarding and graffiti scene. Back on the East Coast, he’d been a prolific skate videographer, primarily in Washington, D.C. On that September day, we talked about his more recent work for \u003ca href=\"https://www.skatedeluxe.com/en/gx1000-shop\">GX1000\u003c/a>, his friend’s skate company.\u003c/p>\n\u003cfigure id=\"attachment_13923413\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923413\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM-800x956.png\" alt=\"A man wearing blue jeans, flannel shirt and a chicken head mask perches on top of a graffitied bathroom stall, money falling from his hands.\" width=\"800\" height=\"956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM-800x956.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM-160x191.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM-768x918.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM.png 1014w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photo taken at The Cock, a New York City gay bar. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Best of all, we talked about the trouble he’d found himself in while taking photos of strangers doing illegal things — a habit Schubert had that reflected his audacious approach to his craft. He told me of one incident when a group of sex workers attacked him for taking a photo of them smoking crack in the Tenderloin. Mid-attack, Schubert told me, one of them began biting his finger. Hard.\u003c/p>\n\u003cp>“I had just watched a nature film with sharks that week though,” Schubert casually told me. “And it said if you’re attacked by a reef shark, don’t pull your hand out of its mouth because your flesh will tear. Instead, hit it in the throat so it will release you. So that’s what I did. That’s how I got the prostitute off my finger.”\u003c/p>\n\u003cp>Talking to Schubert, these kinds of stories weren’t unusual. They were simply how he lived his life: on the edge, always adjacent to trouble, illuminating the darkest sides of city living with his camera, so that the rest of the world might see it too.\u003c/p>\n\u003cfigure id=\"attachment_13923404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-800x517.png\" alt=\"A man stands casually wearing black clothing and an San Francisco 49ers baseball cap, while a woman casually tags a Muni bus in San Francisco. The bus doors are still open.\" width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-800x517.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-1020x659.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-1536x993.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM.png 1550w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Every day acts of vandalism in SF, as captured by Dave Schubert. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He had a drive and passion for his work that is hard to find these days,” says Lindsay Mape, who first befriended Schubert in 1995. “I was studying painting at SFAI and he would sneak in with me and use the dark rooms all day long to print his film, while I painted in the studios downstairs. Then we would leave and go hang in the Mission or the TL all night, finding trouble, hanging with friends, laughing and chilling with my dog.\u003c/p>\n\u003cp>“He didn’t have a nasty bone in his body,” she remembers. “Genuinely the sweetest soul.”\u003c/p>\n\u003cp>Noah Lang of the San Francisco gallery \u003ca href=\"https://www.instagram.com/p/CnFgYPMS43k/\">Electric Works\u003c/a>, who first befriended Schubert in 1999, has similar memories of the photographer. “Even in his darkest times, he never had any anger,” Lang says. “He was an unstoppable force of positivity. He was very generous. He was interested in sharing everything that he had. He would have 17-year-old skaters email him saying they liked his work and he would just send them [a print]. He was not looking for fame or fortune ever. He just wanted enough money to live and make his books and that was pretty much it.\u003c/p>\n\u003cp>“I feel like street photographers are born noticers,” Lang continues. “They notice all the things that we see but don’t find remarkable, and then they synthesize it. Dave was a really great noticer and synthesizer of the coral reef around him. He knew everything about it. He could see it all and he would make a photo of it and turn normalcy into poetry in 1/60 of a second.”\u003c/p>\n\u003cfigure id=\"attachment_13923472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-800x512.png\" alt=\"\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-768x491.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-1536x983.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM.png 1910w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A very young Stevie Williams (skateboarder) poses between friends at Pulaski Park in Washington, D.C., 1993. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tributes poured in for Schubert over the weekend as news of his untimely death spread.\u003c/p>\n\u003cp>Artist \u003ca href=\"https://www.instagram.com/steveespopowers/\">Steve Powers wrote on Instagram\u003c/a>: “I don’t know a better photographer that shot both skateboarding and graffiti as well as Dave did, but, as he would say about bragging, ‘Don’t tell it, show it’ … Dave Schubert didn’t take pictures, he took the time to love and to show the love.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.juxtapoz.com/news/photography/the-chaos-he-memorialized-rip-san-francisco-photography-legend-dave-schubert/\">Evan Pricco of \u003cem>Juxtapoz\u003c/em> wrote\u003c/a>: “It feels as if an era of San Francisco has passed with the news of the death of photographer, Dave Schubert. Many of my earliest memories of art, of underground culture, of life being fucking lived, was through the lens and eye of Dave Schubert. He was telling me the story of my home city without me even being conscious of it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Noah Lang and friends have set up a fundraising campaign to save and preserve Dave Schubert’s photographic archive. \u003ca href=\"https://www.gofundme.com/f/dave-schuberts-photographic-legacy?qid=93785caa04562f1ed1bf1235d03c5de5\" target=\"_blank\" rel=\"noopener noreferrer\">Details can be found on their GoFundMe page\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>An exhibit of Schubert’s photography will be on display at San Francisco’s \u003ca href=\"https://etaletc.com/\">Et Al. Etc. Gallery\u003c/a> (2831 Mission Street) between July 29 and Aug. 18, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first couple times \u003ca href=\"https://www.npr.org/2021/09/01/1031053251/sackler-family-immunity-purdue-pharma-oxcyontin-opioid-epidemic\">I talked with photographer Nan Goldin\u003c/a>, I saw her rage and frustration over the prescription opioid epidemic that derailed her life and killed tens of thousands of Americans.\u003c/p>\n\u003cp>“I’ve never seen such an abuse of justice,” Goldin told me.\u003c/p>\n\u003cp>[aside postid='arts_13828436']She was talking about members of the Sackler family, who own Purdue Pharma, the maker of OxyContin.\u003c/p>\n\u003cp>Goldin herself became addicted to pain pills after surgery. She later came to believe the Sacklers lied about their drug’s safety and were unlikely to be held accountable.\u003c/p>\n\u003cp>“It’s shocking. It’s really shocking. I’ve been deeply depressed and horrified,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What I missed in those encounters with Goldin — hidden behind the chain smoking and the weary laugh — was the power, stubbornness and battle-hardened courage that helped her take on the Sacklers.\u003c/p>\n\u003cp>That’s the revelation in the new documentary about Goldin, \u003cem>All the Beauty and the Bloodshed\u003c/em>, out now in limited release. It won the Gold Lion for best film this year at the Venice International Film Festival.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXgF7bskfvo\u003c/p>\n\u003cp>The film by Laura Poitras shows Goldin growing up in an abusive family, surviving foster care and living homeless in New York City.\u003c/p>\n\u003cp>Goldin clawed her way into the art world as one of the rawest, most powerful photographers of her generation. To pay the bills — and cover the cost of film — Goldin often danced in strip clubs and did sex work.\u003c/p>\n\u003cp>“Photography was always a way to walk through fear,” Goldin says in the documentary. “It gave me a reason to be there.”\u003c/p>\n\u003cp>She was later one of the earliest American artists to take on the AIDS epidemic, mounting a show in the late 1980s that drew national attention and controversy.\u003c/p>\n\u003cp>The Sackler family, meanwhile, was growing fabulously wealthy, first by selling Valium and then aggressively marketing OxyContin.\u003c/p>\n\u003cp>Many of the same museums around the world that were beginning to collect Goldin’s photographs were also naming buildings after the Sacklers — in exchange for lavish donations.\u003c/p>\n\u003cp>The collision between the Sacklers and Goldin portrayed in this film came after Goldin’s recovery from years of opioid addiction, a time she describes as “a darkness of the soul.”\u003c/p>\n\u003cp>[aside postid='news_11752071']After reading about the Sacklers’ role pushing OxyContin sales in a \u003ca href=\"https://www.newyorker.com/magazine/2017/10/30/the-family-that-built-an-empire-of-pain\">groundbreaking article in \u003cem>The New Yorker\u003c/em>\u003c/a>, Goldin decided to challenge their carefully curated public image as enlightened philanthropists.\u003c/p>\n\u003cp>“All the museums and institutions need to stop taking money from these corrupt evil bastards,” Goldin says in the documentary, as she helps organize one of the opioid protests that rocked the art world over the last five years.\u003c/p>\n\u003cp>It wasn’t clear Goldin’s campaign would work. The Sacklers ranked among the most widely respected and deeply connected art patrons.\u003c/p>\n\u003cp>“The museums … tried to pretend it wasn’t happening,” said director \u003ca href=\"https://www.npr.org/2022/12/03/1140529085/director-laura-poitras-on-her-new-documentary-all-the-beauty-and-the-bloodshed\">Laura Poitras\u003c/a> in an interview with NPR. “None of them responded.”\u003c/p>\n\u003cp>But Goldin kept pushing, mounting more protests and publishing a scathing personal essay \u003ca href=\"https://www.artforum.com/print/201801/nan-goldin-73181\">in the influential journal \u003cem>Artforum\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“She knew how to use her power. She’s a figure these museums wanted to work with,” says David Velasco, \u003cem>Artforum’\u003c/em>s editor in chief, in the documentary.\u003c/p>\n\u003cfigure id=\"attachment_13922345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922345\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1431555730-800x533.jpg\" alt=\"Two women holding microphones sits on basic chairs on stage, looking admiringly at one another.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Nan Goldin and Laura Poitras discuss ‘All the Beauty and the Bloodshed’ onstage at the 60th New York Film Festival. Oct. 2022. \u003ccite>(Theo Wargo/Getty Images for FLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s important to say the Sacklers have long denied any wrongdoing.\u003c/p>\n\u003cp>Their company has twice pleaded guilty to federal criminal charges relating to opioid marketing and Purdue Pharma is now in bankruptcy.\u003c/p>\n\u003cp>But members of the Sackler family who directed the company and profited from opioid sales have never been charged with any crime.\u003c/p>\n\u003cp>While they’ve given up control of their company and are expected to pay billions of dollars as part of a settlement deal, they are likely to retain much of their wealth.\u003c/p>\n\u003cp>They have, however, faced a different kind of accountability.\u003c/p>\n\u003cp>[aside postid='arts_13906024']In bestselling books such as \u003cem>\u003ca href=\"https://www.npr.org/2021/04/14/986736258/journalist-investigates-crime-story-of-the-sackler-family-and-the-opioid-crisis\">Empire of Pain: The Secret History of the Sackler Dynasty\u003c/a>\u003c/em>, the book and award-winning television series \u003ca href=\"https://www.npr.org/2021/11/08/1051475843/dopesick-hulu-true-story-opioid-addiction\">\u003cem>Dopesick\u003c/em>\u003c/a>, and this new documentary, the Sacklers have faced a kind of public shaming.\u003c/p>\n\u003cp>The Sackler name has been \u003ca href=\"https://www.npr.org/2021/12/09/1062752439/the-met-will-strip-the-sackler-familys-name\">stripped\u003c/a> from buildings and exhibition spaces in the Guggenheim, the Louvre, the Met, and other top cultural and educational institutions around the world.\u003c/p>\n\u003cp>In my conversations with Goldin, she’s described this as a thin sort of victory, weighed against the carnage of an opioid crisis that’s still raging.\u003c/p>\n\u003cp>Hundreds of thousands of Americans have already died. Fatal overdoses, driven now mostly by the illicit street opioid fentanyl, hit a devastating new record in 2021.\u003c/p>\n\u003cp>In the documentary, however, Goldin allows herself a moment of triumph. She walks through an exhibition space in the Met, where the Sackler name has been scoured from the wall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Congress didn’t do anything, the Justice Department didn’t do anything,” Goldin says. “This is the only place they’re being held accountable, the only place. We did it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+one+artist+took+on+the+Sacklers+and+shook+their+reputation+in+the+art+world&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She was talking about members of the Sackler family, who own Purdue Pharma, the maker of OxyContin.\u003c/p>\n\u003cp>Goldin herself became addicted to pain pills after surgery. She later came to believe the Sacklers lied about their drug’s safety and were unlikely to be held accountable.\u003c/p>\n\u003cp>“It’s shocking. It’s really shocking. I’ve been deeply depressed and horrified,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What I missed in those encounters with Goldin — hidden behind the chain smoking and the weary laugh — was the power, stubbornness and battle-hardened courage that helped her take on the Sacklers.\u003c/p>\n\u003cp>That’s the revelation in the new documentary about Goldin, \u003cem>All the Beauty and the Bloodshed\u003c/em>, out now in limited release. It won the Gold Lion for best film this year at the Venice International Film Festival.\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/DXgF7bskfvo'\n title='//www.youtube.com/embed/DXgF7bskfvo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film by Laura Poitras shows Goldin growing up in an abusive family, surviving foster care and living homeless in New York City.\u003c/p>\n\u003cp>Goldin clawed her way into the art world as one of the rawest, most powerful photographers of her generation. To pay the bills — and cover the cost of film — Goldin often danced in strip clubs and did sex work.\u003c/p>\n\u003cp>“Photography was always a way to walk through fear,” Goldin says in the documentary. “It gave me a reason to be there.”\u003c/p>\n\u003cp>She was later one of the earliest American artists to take on the AIDS epidemic, mounting a show in the late 1980s that drew national attention and controversy.\u003c/p>\n\u003cp>The Sackler family, meanwhile, was growing fabulously wealthy, first by selling Valium and then aggressively marketing OxyContin.\u003c/p>\n\u003cp>Many of the same museums around the world that were beginning to collect Goldin’s photographs were also naming buildings after the Sacklers — in exchange for lavish donations.\u003c/p>\n\u003cp>The collision between the Sacklers and Goldin portrayed in this film came after Goldin’s recovery from years of opioid addiction, a time she describes as “a darkness of the soul.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After reading about the Sacklers’ role pushing OxyContin sales in a \u003ca href=\"https://www.newyorker.com/magazine/2017/10/30/the-family-that-built-an-empire-of-pain\">groundbreaking article in \u003cem>The New Yorker\u003c/em>\u003c/a>, Goldin decided to challenge their carefully curated public image as enlightened philanthropists.\u003c/p>\n\u003cp>“All the museums and institutions need to stop taking money from these corrupt evil bastards,” Goldin says in the documentary, as she helps organize one of the opioid protests that rocked the art world over the last five years.\u003c/p>\n\u003cp>It wasn’t clear Goldin’s campaign would work. The Sacklers ranked among the most widely respected and deeply connected art patrons.\u003c/p>\n\u003cp>“The museums … tried to pretend it wasn’t happening,” said director \u003ca href=\"https://www.npr.org/2022/12/03/1140529085/director-laura-poitras-on-her-new-documentary-all-the-beauty-and-the-bloodshed\">Laura Poitras\u003c/a> in an interview with NPR. “None of them responded.”\u003c/p>\n\u003cp>But Goldin kept pushing, mounting more protests and publishing a scathing personal essay \u003ca href=\"https://www.artforum.com/print/201801/nan-goldin-73181\">in the influential journal \u003cem>Artforum\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“She knew how to use her power. She’s a figure these museums wanted to work with,” says David Velasco, \u003cem>Artforum’\u003c/em>s editor in chief, in the documentary.\u003c/p>\n\u003cfigure id=\"attachment_13922345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922345\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1431555730-800x533.jpg\" alt=\"Two women holding microphones sits on basic chairs on stage, looking admiringly at one another.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Nan Goldin and Laura Poitras discuss ‘All the Beauty and the Bloodshed’ onstage at the 60th New York Film Festival. Oct. 2022. \u003ccite>(Theo Wargo/Getty Images for FLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s important to say the Sacklers have long denied any wrongdoing.\u003c/p>\n\u003cp>Their company has twice pleaded guilty to federal criminal charges relating to opioid marketing and Purdue Pharma is now in bankruptcy.\u003c/p>\n\u003cp>But members of the Sackler family who directed the company and profited from opioid sales have never been charged with any crime.\u003c/p>\n\u003cp>While they’ve given up control of their company and are expected to pay billions of dollars as part of a settlement deal, they are likely to retain much of their wealth.\u003c/p>\n\u003cp>They have, however, faced a different kind of accountability.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In bestselling books such as \u003cem>\u003ca href=\"https://www.npr.org/2021/04/14/986736258/journalist-investigates-crime-story-of-the-sackler-family-and-the-opioid-crisis\">Empire of Pain: The Secret History of the Sackler Dynasty\u003c/a>\u003c/em>, the book and award-winning television series \u003ca href=\"https://www.npr.org/2021/11/08/1051475843/dopesick-hulu-true-story-opioid-addiction\">\u003cem>Dopesick\u003c/em>\u003c/a>, and this new documentary, the Sacklers have faced a kind of public shaming.\u003c/p>\n\u003cp>The Sackler name has been \u003ca href=\"https://www.npr.org/2021/12/09/1062752439/the-met-will-strip-the-sackler-familys-name\">stripped\u003c/a> from buildings and exhibition spaces in the Guggenheim, the Louvre, the Met, and other top cultural and educational institutions around the world.\u003c/p>\n\u003cp>In my conversations with Goldin, she’s described this as a thin sort of victory, weighed against the carnage of an opioid crisis that’s still raging.\u003c/p>\n\u003cp>Hundreds of thousands of Americans have already died. Fatal overdoses, driven now mostly by the illicit street opioid fentanyl, hit a devastating new record in 2021.\u003c/p>\n\u003cp>In the documentary, however, Goldin allows herself a moment of triumph. She walks through an exhibition space in the Met, where the Sackler name has been scoured from the wall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Congress didn’t do anything, the Justice Department didn’t do anything,” Goldin says. “This is the only place they’re being held accountable, the only place. We did it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+one+artist+took+on+the+Sacklers+and+shook+their+reputation+in+the+art+world&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A pretty young woman, age 18, sits cross-legged on a pillow-strewn nook. Her long blonde hair is parted in the center, her slender arms are neatly arranged in her lap, but her facial expression is forlorn.\u003c/p>\n\u003cp>Another young woman sits cross-legged on the grass in Golden Gate Park. Her curly hair is parted in the middle and her wrists decorated with beads, but her face is downbeat.\u003c/p>\n\u003cp>A 16-year-old boy, shirtless underneath a velvet jacket, leans against a tree, arms folded defensively in front of him, looking cynical and serious.\u003c/p>\n\u003cfigure id=\"attachment_13921000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Frank-and-Ruth-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1536x768.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-2048x1024.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1920x960.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank French (L) and Ruth Murphy (R), two of the young subjects of Elaine Mayes’ new book, ‘Haight Ashbury Portraits 1967-1968’. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.elainemayesphoto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Elaine Mayes\u003c/a>’ new book, \u003ca href=\"https://www.damianieditore.com/en-US/product/836\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Haight Ashbury Portraits 1967-1968\u003c/em>\u003c/a>, is full of photographs like these. They are of young people caught in an historic moment. Teenagers in the midst of rebelling against the status quo while also being simultaneously crushed by it. There are a few exceptions to the rule, but the vast majority of Mayes’ subjects carry an air of concern that belies their youthful features.\u003c/p>\n\u003cp>Mayes’ images offer a more measured depiction of the Summer of Love than is typically presented in these kinds of retrospectives. In her introduction to the 43 images collected here, the photographer explains that she simply asked her subjects “to pose or sit naturally, to look into the camera and project their image onto the film.” The results speak volumes about the stress placed on young people in the era of the draft.\u003c/p>\n\u003cfigure id=\"attachment_13921005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Rebel-and-Cathleen-800x400.jpg\" alt=\"A Black man wearing denim jeans and jacket standing in a wooded area; a teenage girl sitting on a leather couch in a simple white robe.\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">Rebel (L) and Cathleen (R), two young people living in the Haight in 1968. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mayes’ Haight Ashbury photography isn’t concerned with directly documenting the hedonism of the period. There is no carefree dancing in the park here, no nudity and — despite \u003ca href=\"https://www.kqed.org/arts/13310178/she-photographed-jimi-hendrix-without-knowing-his-name\" target=\"_blank\" rel=\"noopener noreferrer\">Mayes also being known for her Monterey Pop photos\u003c/a> — no live music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, Mayes catches the individuals at the center of a whirlwind in quiet, contemplative repose, after the music, the party, the protest has stopped. The aura of the time is captured in the small details — peace signs hanging around necks, messages scrawled on walls about love and war and religion. Subjects sit in rooms decorated with rock ‘n’ roll posters, with guitars, empty cups and dirty ashtrays strewn around them. A few of Mayes’ male subjects remain nameless because they were avoiding the draft at the time she took the picture.\u003c/p>\n\u003cfigure id=\"attachment_13921001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921001\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-800x568.png\" alt=\"\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-800x568.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-1020x724.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-768x545.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-1536x1090.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM.png 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Shari Maynard 19, Red Pappas 18, Stefanie Wyatt 17, Michael 20, and Sean Herrick 18, gather on Haight Street front steps in August 1968. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13310178']Mayes’ work doesn’t offer the broad overview or the depth that Jim Marshall’s collection of photos did in his excellent 2014 book,\u003cem> \u003ca href=\"https://www.jimmarshallphotographyllc.com/haight-love-rock-and-revolution\">The Haight: Love, Rock and Revolution\u003c/a>\u003c/em>. But it does offer a quieter, more introspective view of the kids who were there. Kids that — as \u003cem>Haight Ashbury Portraits 1967-1968\u003c/em> so brilliantly encapsulates — were often lost and simply trying to find their place in a world that was pushing down hard on their young shoulders.\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>\n\u003cp>\u003cem>‘Haight Ashbury Portraits 1967-1968’ by Elaine Mayes is out Nov. 8, 2022, published by Damiani.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A pretty young woman, age 18, sits cross-legged on a pillow-strewn nook. Her long blonde hair is parted in the center, her slender arms are neatly arranged in her lap, but her facial expression is forlorn.\u003c/p>\n\u003cp>Another young woman sits cross-legged on the grass in Golden Gate Park. Her curly hair is parted in the middle and her wrists decorated with beads, but her face is downbeat.\u003c/p>\n\u003cp>A 16-year-old boy, shirtless underneath a velvet jacket, leans against a tree, arms folded defensively in front of him, looking cynical and serious.\u003c/p>\n\u003cfigure id=\"attachment_13921000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Frank-and-Ruth-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1536x768.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-2048x1024.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Frank-and-Ruth-1920x960.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank French (L) and Ruth Murphy (R), two of the young subjects of Elaine Mayes’ new book, ‘Haight Ashbury Portraits 1967-1968’. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.elainemayesphoto.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Elaine Mayes\u003c/a>’ new book, \u003ca href=\"https://www.damianieditore.com/en-US/product/836\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Haight Ashbury Portraits 1967-1968\u003c/em>\u003c/a>, is full of photographs like these. They are of young people caught in an historic moment. Teenagers in the midst of rebelling against the status quo while also being simultaneously crushed by it. There are a few exceptions to the rule, but the vast majority of Mayes’ subjects carry an air of concern that belies their youthful features.\u003c/p>\n\u003cp>Mayes’ images offer a more measured depiction of the Summer of Love than is typically presented in these kinds of retrospectives. In her introduction to the 43 images collected here, the photographer explains that she simply asked her subjects “to pose or sit naturally, to look into the camera and project their image onto the film.” The results speak volumes about the stress placed on young people in the era of the draft.\u003c/p>\n\u003cfigure id=\"attachment_13921005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921005\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Rebel-and-Cathleen-800x400.jpg\" alt=\"A Black man wearing denim jeans and jacket standing in a wooded area; a teenage girl sitting on a leather couch in a simple white robe.\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">Rebel (L) and Cathleen (R), two young people living in the Haight in 1968. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mayes’ Haight Ashbury photography isn’t concerned with directly documenting the hedonism of the period. There is no carefree dancing in the park here, no nudity and — despite \u003ca href=\"https://www.kqed.org/arts/13310178/she-photographed-jimi-hendrix-without-knowing-his-name\" target=\"_blank\" rel=\"noopener noreferrer\">Mayes also being known for her Monterey Pop photos\u003c/a> — no live music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, Mayes catches the individuals at the center of a whirlwind in quiet, contemplative repose, after the music, the party, the protest has stopped. The aura of the time is captured in the small details — peace signs hanging around necks, messages scrawled on walls about love and war and religion. Subjects sit in rooms decorated with rock ‘n’ roll posters, with guitars, empty cups and dirty ashtrays strewn around them. A few of Mayes’ male subjects remain nameless because they were avoiding the draft at the time she took the picture.\u003c/p>\n\u003cfigure id=\"attachment_13921001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921001\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-800x568.png\" alt=\"\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-800x568.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-1020x724.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-768x545.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM-1536x1090.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-27-at-2.01.26-PM.png 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Shari Maynard 19, Red Pappas 18, Stefanie Wyatt 17, Michael 20, and Sean Herrick 18, gather on Haight Street front steps in August 1968. \u003ccite>(Elaine Mayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mayes’ work doesn’t offer the broad overview or the depth that Jim Marshall’s collection of photos did in his excellent 2014 book,\u003cem> \u003ca href=\"https://www.jimmarshallphotographyllc.com/haight-love-rock-and-revolution\">The Haight: Love, Rock and Revolution\u003c/a>\u003c/em>. But it does offer a quieter, more introspective view of the kids who were there. Kids that — as \u003cem>Haight Ashbury Portraits 1967-1968\u003c/em> so brilliantly encapsulates — were often lost and simply trying to find their place in a world that was pushing down hard on their young shoulders.\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>\n\u003cp>\u003cem>‘Haight Ashbury Portraits 1967-1968’ by Elaine Mayes is out Nov. 8, 2022, published by Damiani.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Inside of a classic Queen Anne Victorian in West Oakland, photographer \u003ca href=\"https://www.instagram.com/tracibartlow/\" target=\"_blank\" rel=\"noopener noreferrer\">Traci Bartlow\u003c/a> displays beautifully framed images of the people who shaped hip-hop culture here in the Bay Area, and across the nation.\u003c/p>\n\u003cp>Her exhibition, \u003cem>\u003ca href=\"https://www.eventbrite.com/e/the-gallery-experience-at-b-loves-guest-house-tickets-403783887477\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Picture Lady: Tales of the 90’s Girl\u003c/a>\u003c/em>, features photos of Outkast and Queen Latifah, Busta Rhymes and ODB, alongside images of the Luniz and Shock-G, as well as E-40 and The Click.\u003c/p>\n\u003cp>While the photos tell a story about what life was like in growing up in Oakland, it’s her house that tells the complex story of multiple generations of Black folks, land ownership and community appreciation.\u003c/p>\n\u003cp>Traci is the owner of \u003ca href=\"https://www.b-lovesguesthouse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">B-Love’s Guesthouse\u003c/a>, which is a photography museum \u003cem>and\u003c/em> a boutique hotel. With its picturesque front porch and flourishing garden in the back, the building features seven different rooms that folks can rent.\u003c/p>\n\u003cfigure id=\"attachment_13920339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920339\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04426-800x535.jpg\" alt=\"Traci Bartlow holds up an image of the wash house her mother once owned in East Oakland. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow holds up an image of the washhouse her mother once owned in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An \u003ca href=\"https://www.alvinailey.org/school\">Ailey School\u003c/a> graduate turned \u003ca href=\"https://www.youtube.com/watch?v=LjBa6yqRau4\">Emmy-winning dancer\u003c/a> and choreographer, Traci fell in love with the arts through what she experienced in her neighborhood as a child. Block parties and family functions introduced her to her love of dance.\u003c/p>\n\u003cp>Born and raised in East Oakland, she also saw firsthand the importance of a neighborhood hub by watching the multiple ways people would use her mother’s washhouse. It wasn’t just a laundromat but a corner store, a place to get your prom dress made or pick up your Avon order.\u003c/p>\n\u003cp>She acquired her current home from the late Eddie Mae Holmes, a Black woman who once owned multiple properties in West Oakland. And Traci envisioned using the space for the purposes of artistic expression and community gatherings, including showcasing her work.\u003c/p>\n\u003cfigure id=\"attachment_13920342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13920342 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04446-800x535.jpg\" alt=\"Traci Bartlow.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow sits on the stairwell of her Queen Ann Victorian home in West Oakland \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now B-Love’s Guesthouse stands as a home for hip-hop history and a safe haven for folks to come together.\u003c/p>\n\u003cp>This week we take a tour of the property and walk down memory lane through her photos. If you’re interested after listening to this episode, you can take a \u003ca href=\"https://www.eventbrite.com/e/the-gallery-experience-at-b-loves-guest-house-tickets-403783887477\">tour\u003c/a> too.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5621038255&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://bit.ly/3TiAwgf\">Read the transcript\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Traci Bartlow.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span>Just a few blocks from the women of the Black Panther Party mural and West Oakland BART station is Traci Bartlow’s home and hotel, B-Love’s Guesthouse. It’s on a residential street with lots of history.\u003c/em>\u003c/p>\n\u003cp>Traci:\u003cspan style=\"font-weight: 400\"> I acquired the house in 2007 from a team of people that would buy houses, flip them, and then sell them. They bought the house from a woman named Eddie Mae Holmes. And Ms. Holmes was an African-American woman that came to West Oakland when she was 14 years old. And, through her family ownership, she acquired this house, this house on the corner. And in 1965, she had that apartment building around the corner built. On the lower level of the apartment building, she had Holmes Barber Shop. So Ms. Holmes is one of those black women in the community that was providing in so many different ways for everyone. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span> About 15 years ago, Traci converted her home into a guesthouse. People can choose from one of seven rooms for an overnight stay. And at the same time, folks can enjoy the framed photos from Traci’s archives. Her photos are a time machine, instantly transporting me back to the East Oakland that I knew as a youth. \u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='arts_13891300']Traci: These are people that I grew up with. You know, we went to middle school and high school together. My mother owned the laundromat on 98th and Birch, and so everyone would come and do their laundry at my mom’s laundromat. And her business wasn’t just where you can do your laundry. It was like a community center where my mom had a sewing machine in the corner and she would do alterations and she would make prom dresses and make outfits for people. She also sold Avon, and we had a little store in the back where you could buy candy and chips and sandwiches. I would make homemade cookies and we would have those ghetto Icees, you know, like Kool-Aid in a cup. So people were always coming to the laundromat. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span> Even before she got into photography, Traci was already into the arts. At age 19, she was awarded a scholarship to study dance at the \u003ca href=\"https://www.alvinailey.org/school\">Ailey School\u003c/a> in New York. After finishing the two-year professional dance training program, she took performing gigs across the globe. One thing led to another and Traci dabbled in modeling before picking up the camera herself. \u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Traci: I would also find myself at modeling shoots and just be like, ‘What kind of light is that? Oh, that’s a diffuser? What does that do?’ \u003c/span>It was just like this natural progression of me knowing about photography and wanting to learn more. \u003cspan style=\"font-weight: 400\">I’m self-taught, so I started photographing other dancers. And you’ll see many images from this photo shoot, because this was an assignment I gave myself to practice with high speed film. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inside of a classic Queen Anne Victorian in West Oakland, photographer \u003ca href=\"https://www.instagram.com/tracibartlow/\" target=\"_blank\" rel=\"noopener noreferrer\">Traci Bartlow\u003c/a> displays beautifully framed images of the people who shaped hip-hop culture here in the Bay Area, and across the nation.\u003c/p>\n\u003cp>Her exhibition, \u003cem>\u003ca href=\"https://www.eventbrite.com/e/the-gallery-experience-at-b-loves-guest-house-tickets-403783887477\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Picture Lady: Tales of the 90’s Girl\u003c/a>\u003c/em>, features photos of Outkast and Queen Latifah, Busta Rhymes and ODB, alongside images of the Luniz and Shock-G, as well as E-40 and The Click.\u003c/p>\n\u003cp>While the photos tell a story about what life was like in growing up in Oakland, it’s her house that tells the complex story of multiple generations of Black folks, land ownership and community appreciation.\u003c/p>\n\u003cp>Traci is the owner of \u003ca href=\"https://www.b-lovesguesthouse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">B-Love’s Guesthouse\u003c/a>, which is a photography museum \u003cem>and\u003c/em> a boutique hotel. With its picturesque front porch and flourishing garden in the back, the building features seven different rooms that folks can rent.\u003c/p>\n\u003cfigure id=\"attachment_13920339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920339\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04426-800x535.jpg\" alt=\"Traci Bartlow holds up an image of the wash house her mother once owned in East Oakland. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04426.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow holds up an image of the washhouse her mother once owned in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An \u003ca href=\"https://www.alvinailey.org/school\">Ailey School\u003c/a> graduate turned \u003ca href=\"https://www.youtube.com/watch?v=LjBa6yqRau4\">Emmy-winning dancer\u003c/a> and choreographer, Traci fell in love with the arts through what she experienced in her neighborhood as a child. Block parties and family functions introduced her to her love of dance.\u003c/p>\n\u003cp>Born and raised in East Oakland, she also saw firsthand the importance of a neighborhood hub by watching the multiple ways people would use her mother’s washhouse. It wasn’t just a laundromat but a corner store, a place to get your prom dress made or pick up your Avon order.\u003c/p>\n\u003cp>She acquired her current home from the late Eddie Mae Holmes, a Black woman who once owned multiple properties in West Oakland. And Traci envisioned using the space for the purposes of artistic expression and community gatherings, including showcasing her work.\u003c/p>\n\u003cfigure id=\"attachment_13920342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13920342 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC04446-800x535.jpg\" alt=\"Traci Bartlow.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC04446.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow sits on the stairwell of her Queen Ann Victorian home in West Oakland \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now B-Love’s Guesthouse stands as a home for hip-hop history and a safe haven for folks to come together.\u003c/p>\n\u003cp>This week we take a tour of the property and walk down memory lane through her photos. If you’re interested after listening to this episode, you can take a \u003ca href=\"https://www.eventbrite.com/e/the-gallery-experience-at-b-loves-guest-house-tickets-403783887477\">tour\u003c/a> too.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5621038255&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://bit.ly/3TiAwgf\">Read the transcript\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Traci Bartlow.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span>Just a few blocks from the women of the Black Panther Party mural and West Oakland BART station is Traci Bartlow’s home and hotel, B-Love’s Guesthouse. It’s on a residential street with lots of history.\u003c/em>\u003c/p>\n\u003cp>Traci:\u003cspan style=\"font-weight: 400\"> I acquired the house in 2007 from a team of people that would buy houses, flip them, and then sell them. They bought the house from a woman named Eddie Mae Holmes. And Ms. Holmes was an African-American woman that came to West Oakland when she was 14 years old. And, through her family ownership, she acquired this house, this house on the corner. And in 1965, she had that apartment building around the corner built. On the lower level of the apartment building, she had Holmes Barber Shop. So Ms. Holmes is one of those black women in the community that was providing in so many different ways for everyone. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span> About 15 years ago, Traci converted her home into a guesthouse. People can choose from one of seven rooms for an overnight stay. And at the same time, folks can enjoy the framed photos from Traci’s archives. Her photos are a time machine, instantly transporting me back to the East Oakland that I knew as a youth. \u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Traci: These are people that I grew up with. You know, we went to middle school and high school together. My mother owned the laundromat on 98th and Birch, and so everyone would come and do their laundry at my mom’s laundromat. And her business wasn’t just where you can do your laundry. It was like a community center where my mom had a sewing machine in the corner and she would do alterations and she would make prom dresses and make outfits for people. She also sold Avon, and we had a little store in the back where you could buy candy and chips and sandwiches. I would make homemade cookies and we would have those ghetto Icees, you know, like Kool-Aid in a cup. So people were always coming to the laundromat. \u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: \u003c/span> Even before she got into photography, Traci was already into the arts. At age 19, she was awarded a scholarship to study dance at the \u003ca href=\"https://www.alvinailey.org/school\">Ailey School\u003c/a> in New York. After finishing the two-year professional dance training program, she took performing gigs across the globe. One thing led to another and Traci dabbled in modeling before picking up the camera herself. \u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Traci: I would also find myself at modeling shoots and just be like, ‘What kind of light is that? Oh, that’s a diffuser? What does that do?’ \u003c/span>It was just like this natural progression of me knowing about photography and wanting to learn more. \u003cspan style=\"font-weight: 400\">I’m self-taught, so I started photographing other dancers. And you’ll see many images from this photo shoot, because this was an assignment I gave myself to practice with high speed film. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Photo Exhibit Celebrates the Original Kasper's, a Unique Corner of Oakland History",
"headTitle": "Photo Exhibit Celebrates the Original Kasper’s, a Unique Corner of Oakland History | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">There aren’t many old-school, immigrant-built, onion-slinging hot dog spots left in Oakland. But for anyone who grew up \u003c/span>\u003cspan style=\"font-weight: 400\">in the East Bay, Kasper’s (along with \u003c/span>\u003ca href=\"https://themonthly.com/kilduff1904/\">\u003cspan style=\"font-weight: 400\">family rival business, Casper’s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">) has long been an unrivaled hot dog institution — rugged and reliable, like the blue-collar workers it has fed throughout the years.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And perhaps no other Kasper’s venue is as distinctly recognizable as the “Original Kasper’s” — a tiny, triangular outpost on 4521 Telegraph Ave. in Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even though the Temescal location closed its doors in 2003, it has remained as an iconic reminder of the area’s food and architectural history. Indeed, the uniquely located and oddly undersized flatiron building — originally a gas station — has endured for nearly two decades without any indication of what would happen next. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">During that time, graffiti artists have turned it into a de facto outdoor gallery, nearby high-rise apartments have multiplied around it and rent prices in the zip code have skyrocketed.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The history of the building itself isn’t hard to find, but the mystery of why the owner let it sit there for 14 years was intriguing,” says \u003c/span>\u003ca href=\"https://www.malcolmryder.com/\">\u003cspan style=\"font-weight: 400\">Malcolm Ryder\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a local photographer who has documented the building’s transformation since 2015. “As time went by, I paid more attention. The changes became the subject matter.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What results from Ryder’s obsession is a photo exhibit, playfully titled \u003c/span>\u003ca href=\"https://events.com/r/en_US/registration/13-ways-of-looking-at-kaspers-photo-series-opening-oakland-october-860362\">\u003cspan style=\"font-weight: 400\">“Thirteen Ways of Looking at Kasper’s,”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> which will debut at the Oakland Public Library’s Temescal branch on Saturday, Oct. 15. Created in partnership with Oakland-based writer Constance Hale, the exhibit serves as an invitation for residents to engage with the many flavors and iterations of the iconic (and often neglected) Original Kasper’s.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920347\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920347\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-800x1610.jpg\" alt=\"a side profile of the oddly shaped flatiron Kasper's building shows the thin, graffiti-covered corner of the iconic Oakland building\" width=\"800\" height=\"1610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-800x1610.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-1020x2052.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-160x322.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-768x1545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-763x1536.jpg 763w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-1018x2048.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-scaled.jpg 1272w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Original Kasper’s is known for its unique location and flatiron dimensions. \u003ccite>(Malcolm Ryder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The series of shots, which span roughly seven years, are part of “\u003c/span>\u003ca href=\"https://www.oaktown.pictures/\">\u003cspan style=\"font-weight: 400\">Oaktown\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” a macro project that Ryder is compiling to trace the evolution of local spaces and businesses in the city. By zooming in on the ghost of Kasper’s on Telegraph, he’s putting larger questions about politics, social access, homelessness and public space into focus.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of his photographs, “Golden Arches,” is framed in a way that accentuates Kasper’s graffiti-splashed walls with a makeshift shelter of boxes and discarded materials on the side while the corporate symbol of a McDonald’s arch peeks out from across the street. From that angle, it’s hard to miss the discrepancy of economic realities and food access that has troubled Bay Area cities like Oakland in times of gentrification and residential displacement.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13920137,arts_13918017,arts_13894423']The whole series reminds viewers that Kasper’s is more than a place that used to (and will soon again) serve hot dogs. It’s about connectivity to home, about representation and preservation, about feeding a sense of communal pride.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In addition to honoring the longtime hot dog institution through a variety of poetic perspectives placed above the library’s bookshelves, the exhibit’s opening day event will include a slew of guests and hands-on activities. From Delency Parham (the \u003c/span>\u003ca href=\"https://soundcloud.com/hellablackpodcast\">\u003cspan style=\"font-weight: 400\">“Tales of the Town” podcast\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> maker of oral histories for Black Oaklanders) to \u003c/span>\u003ca href=\"https://www.commonsarchive.net/hearhere-community-billboard\">\u003cspan style=\"font-weight: 400\">Hear Here Community Billboard\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (a roving vintage truck that displays local information for North Oakland residents), visitors will not only get to see Ryder’s documentation of Kasper’s but will also interact with the neighborhood’s current influencers and tastemakers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Among the afternoon’s other highlights, a coloring book page of Kasper’s will be provided, allowing guests to interact with the building’s walls in the way graffiti artists have done in the past. And if those ingredients aren’t enough to appetize visitors, guests will have the chance to move actual pieces of the Kasper’s wall that were torn down for renovation and reassemble them, like a life-size jigsaw puzzle.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We hope we can get others to pay more attention to what may otherwise be perceived as blight or vandalism and to see the stories of those who have lived or eaten here,” Hale says.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920348\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-800x534.jpg\" alt=\"exhibit organizers, Connie Hale (left) and Malcolm Ryder (right), stand proudly in front of the current Kasper's building in Oakland\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Connie Hale (left) and Malcolm Ryder (right) stand in front of Original Kasper’s on Telegraph Ave. in Oakland. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though exhibit organizers Ryder and Hale hoped to get Kasper’s hot dogs served at the event, they were unable to convince Kasper’s to supply the goods. Fans of the local chain can look forward to an even better consolation prize, however: The Temescal Kasper’s will reopen later this fall under the ownership of John and Vince Traverso, two brothers who own and operate \u003c/span>\u003ca href=\"https://sf.eater.com/2015/1/13/7540931/kingfish-pub-oakland-moving-video\">\u003cspan style=\"font-weight: 400\">the relocated Kingfish Pub\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> a few blocks away.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We want to keep it as original as possible with an updated code in the 21st century,” John Traverso tells me while serving an IPA at the nearby pub.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The reopened North Oakland venue will be the fifth Kasper’s in the Bay, with other locations in East Oakland, San Lorenzo, Castro Valley and Concord.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Once that moment arrives, I know my wife—a lifetime Kasper’s and Casper’s loyalist—and I will be among the first in line to get served.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://events.com/r/en_US/registration/13-ways-of-looking-at-kaspers-photo-series-opening-oakland-october-860362\">\u003cspan style=\"font-weight: 400\">“Thirteen Ways of Looking at Kasper’s”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will debut at the Oakland Public Library Temescal Branch (5205 Telegraph Ave., Oakland) on Saturday, Oct. 15 from 2 to 6 p.m. The photos will be on display until Jan. 15. Free.\u003c/span>\u003c/em>\u003c/p>\n\n",
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"excerpt": "As the iconic hot dog shop prepares to reopen, photographer Malcolm Ryder documents the evolution of the building and the neighborhood around it.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">There aren’t many old-school, immigrant-built, onion-slinging hot dog spots left in Oakland. But for anyone who grew up \u003c/span>\u003cspan style=\"font-weight: 400\">in the East Bay, Kasper’s (along with \u003c/span>\u003ca href=\"https://themonthly.com/kilduff1904/\">\u003cspan style=\"font-weight: 400\">family rival business, Casper’s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">) has long been an unrivaled hot dog institution — rugged and reliable, like the blue-collar workers it has fed throughout the years.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And perhaps no other Kasper’s venue is as distinctly recognizable as the “Original Kasper’s” — a tiny, triangular outpost on 4521 Telegraph Ave. in Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even though the Temescal location closed its doors in 2003, it has remained as an iconic reminder of the area’s food and architectural history. Indeed, the uniquely located and oddly undersized flatiron building — originally a gas station — has endured for nearly two decades without any indication of what would happen next. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">During that time, graffiti artists have turned it into a de facto outdoor gallery, nearby high-rise apartments have multiplied around it and rent prices in the zip code have skyrocketed.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The history of the building itself isn’t hard to find, but the mystery of why the owner let it sit there for 14 years was intriguing,” says \u003c/span>\u003ca href=\"https://www.malcolmryder.com/\">\u003cspan style=\"font-weight: 400\">Malcolm Ryder\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a local photographer who has documented the building’s transformation since 2015. “As time went by, I paid more attention. The changes became the subject matter.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What results from Ryder’s obsession is a photo exhibit, playfully titled \u003c/span>\u003ca href=\"https://events.com/r/en_US/registration/13-ways-of-looking-at-kaspers-photo-series-opening-oakland-october-860362\">\u003cspan style=\"font-weight: 400\">“Thirteen Ways of Looking at Kasper’s,”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> which will debut at the Oakland Public Library’s Temescal branch on Saturday, Oct. 15. Created in partnership with Oakland-based writer Constance Hale, the exhibit serves as an invitation for residents to engage with the many flavors and iterations of the iconic (and often neglected) Original Kasper’s.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920347\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920347\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-800x1610.jpg\" alt=\"a side profile of the oddly shaped flatiron Kasper's building shows the thin, graffiti-covered corner of the iconic Oakland building\" width=\"800\" height=\"1610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-800x1610.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-1020x2052.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-160x322.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-768x1545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-763x1536.jpg 763w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-1018x2048.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_be_safe_malcolm_ryder-scaled.jpg 1272w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Original Kasper’s is known for its unique location and flatiron dimensions. \u003ccite>(Malcolm Ryder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The series of shots, which span roughly seven years, are part of “\u003c/span>\u003ca href=\"https://www.oaktown.pictures/\">\u003cspan style=\"font-weight: 400\">Oaktown\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” a macro project that Ryder is compiling to trace the evolution of local spaces and businesses in the city. By zooming in on the ghost of Kasper’s on Telegraph, he’s putting larger questions about politics, social access, homelessness and public space into focus.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of his photographs, “Golden Arches,” is framed in a way that accentuates Kasper’s graffiti-splashed walls with a makeshift shelter of boxes and discarded materials on the side while the corporate symbol of a McDonald’s arch peeks out from across the street. From that angle, it’s hard to miss the discrepancy of economic realities and food access that has troubled Bay Area cities like Oakland in times of gentrification and residential displacement.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The whole series reminds viewers that Kasper’s is more than a place that used to (and will soon again) serve hot dogs. It’s about connectivity to home, about representation and preservation, about feeding a sense of communal pride.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In addition to honoring the longtime hot dog institution through a variety of poetic perspectives placed above the library’s bookshelves, the exhibit’s opening day event will include a slew of guests and hands-on activities. From Delency Parham (the \u003c/span>\u003ca href=\"https://soundcloud.com/hellablackpodcast\">\u003cspan style=\"font-weight: 400\">“Tales of the Town” podcast\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> maker of oral histories for Black Oaklanders) to \u003c/span>\u003ca href=\"https://www.commonsarchive.net/hearhere-community-billboard\">\u003cspan style=\"font-weight: 400\">Hear Here Community Billboard\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (a roving vintage truck that displays local information for North Oakland residents), visitors will not only get to see Ryder’s documentation of Kasper’s but will also interact with the neighborhood’s current influencers and tastemakers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Among the afternoon’s other highlights, a coloring book page of Kasper’s will be provided, allowing guests to interact with the building’s walls in the way graffiti artists have done in the past. And if those ingredients aren’t enough to appetize visitors, guests will have the chance to move actual pieces of the Kasper’s wall that were torn down for renovation and reassemble them, like a life-size jigsaw puzzle.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We hope we can get others to pay more attention to what may otherwise be perceived as blight or vandalism and to see the stories of those who have lived or eaten here,” Hale says.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920348\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-800x534.jpg\" alt=\"exhibit organizers, Connie Hale (left) and Malcolm Ryder (right), stand proudly in front of the current Kasper's building in Oakland\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/kaspers_portrait_alan_chazaro.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Connie Hale (left) and Malcolm Ryder (right) stand in front of Original Kasper’s on Telegraph Ave. in Oakland. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though exhibit organizers Ryder and Hale hoped to get Kasper’s hot dogs served at the event, they were unable to convince Kasper’s to supply the goods. Fans of the local chain can look forward to an even better consolation prize, however: The Temescal Kasper’s will reopen later this fall under the ownership of John and Vince Traverso, two brothers who own and operate \u003c/span>\u003ca href=\"https://sf.eater.com/2015/1/13/7540931/kingfish-pub-oakland-moving-video\">\u003cspan style=\"font-weight: 400\">the relocated Kingfish Pub\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> a few blocks away.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We want to keep it as original as possible with an updated code in the 21st century,” John Traverso tells me while serving an IPA at the nearby pub.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The reopened North Oakland venue will be the fifth Kasper’s in the Bay, with other locations in East Oakland, San Lorenzo, Castro Valley and Concord.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Once that moment arrives, I know my wife—a lifetime Kasper’s and Casper’s loyalist—and I will be among the first in line to get served.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://events.com/r/en_US/registration/13-ways-of-looking-at-kaspers-photo-series-opening-oakland-october-860362\">\u003cspan style=\"font-weight: 400\">“Thirteen Ways of Looking at Kasper’s”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will debut at the Oakland Public Library Temescal Branch (5205 Telegraph Ave., Oakland) on Saturday, Oct. 15 from 2 to 6 p.m. The photos will be on display until Jan. 15. Free.\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Hey Rightnowish listeners, you can help shape the future of the podcast!\u003ca href=\"https://survey.alchemer.com/s3/6838454/2e522245cbb6\" target=\"_blank\" rel=\"noopener noreferrer\"> Just fill out a short survey.\u003c/a>\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>East Bay photographer\u003ca href=\"https://www.instagram.com/iamsydneywelch/\" target=\"_blank\" rel=\"noopener noreferrer\"> Sydney Welch \u003c/a>has compiled a collection of photos that serve as a highlight reel for the latest wave of talented hip-hop and R&B artists emerging from the Bay Area, including Stunnaman02, LaRussell, Kehlani, P-Lo, Su’Lan, Larry June, and Rexx Life Raj.\u003c/p>\n\u003cp>And that doesn’t even scratch the surface of her portfolio. Her collection is like a stack of baseball cards, full of rare rookies.\u003c/p>\n\u003cp>\u003ca href=\"https://shotsbysydney.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Her images\u003c/a> are captured at concerts, showing artists rocking the crowd or having an intimate moment backstage. She has Polaroid photos taken at parties and magazine-style portraits shot on film.\u003c/p>\n\u003cp>Most importantly: Sydney’s images aren’t taken from an outsider perspective. Before becoming a professional photographer, Sydney was a regular at local Bay Area hip-hop and R&B shows, supporting talent on the rise.\u003c/p>\n\u003cp>https://www.instagram.com/p/CcTciaovReR/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>Sydney grew up in Fremont and after studying journalism in high school and at San Francisco State University, Sydney is now behind the camera at concerts and community gatherings. She’s often seen with multiple cameras strapped to her person, in full shooter mode.\u003c/p>\n\u003cp>This week Sydney Welch tells us about her ultimate professional goals, how she relies on grace to navigate the notoriously treacherous music industry, and why she’s so passionate about representing the Bay through photos of the artists who are currently providing the soundtrack of our time.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8682552209&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Read the podcast \u003ca href=\"https://drive.google.com/file/d/106v47Lh3QrtzMyu7DpLCpiMuiyeS2I5Z/view?usp=sharing\">transcript\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Sydney Welch.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Back in May of this year, I bumped into Sydney at an event thrown by Oakland based non-profit Urban Peace Movement. \u003c/em>\u003cem>In the crowd of a couple hundred people gathered around Lake Merritt’s bandstand, there was Sydney: moving through the crowd, with three cameras strapped to her person. I had my handy-dandy digital camera on me. But Sydney? She was in full-blown shooter mode.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: Film has always been my favorite form of photography. \u003c/span>\u003cspan style=\"font-weight: 400\">It just gives like that historic, like that dope vibe. \u003c/span>\u003cspan style=\"font-weight: 400\">When I was in high school, I literally shot with the film camera before I shot with a digital camera. So I was in a dark room with my teachers at lunch time. Growing up my mom was a photographer as well.\u003c/span> \u003cspan style=\"font-weight: 400\">She did film photography on the side, she always had her camera on her. \u003c/span>\u003c/p>\n\u003cp>\u003cem>Pen: In her junior year of high school, Sydney landed an internship with the San Jose Mercury News as a writer and photographer. It was her formal introduction to the industry.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: But also during that time in high school, I was really in music a lot. Like I was listening to HBK a lot. Kehlani, G-Eazy, literally every Bay Area artist. And so that really gave me a big, sort of inspiration, I feel like, to where I am today. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_5044-800x535.jpeg\" alt=\"Photographer Sydney Welch in action.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-800x535.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-1020x682.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044.jpeg 1284w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Sydney Welch in action. \u003ccite>(Joshua Lee Kennedy/@Sadfiphotoz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: There’s a big variable behind this, it’s you and your identity as a Black woman. What does that bring to the table? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: That really just brings my voice, you know, not being afraid to really express who I am through my work, but to also, you know, inspire another Black person like myself to get out of their comfort zone and to try something new, no matter how scary it may seem or how intimidating it may seem. \u003c/span>\u003cspan style=\"font-weight: 400\">Sometimes with like, you know, people’s intentions and stuff like that, you have to be on your guard more than ever, especially being a Black woman. Like people will try you. They will try you, especially if you’re good looking as well. \u003c/span>\u003cspan style=\"font-weight: 400\">And it’s like, ‘I’m here to work. If you can’t respect me working, then I’m not working with you ever again.’ Like, it’s, it’s that serious. \u003c/span>\u003cspan style=\"font-weight: 400\"> I will just never, you know, dim myself and disrespect myself to make somebody else comfortable.\u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: What story do your photos tell? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Sydney:\u003c/em> My photos tell history. They tell passion. They tell art. Some may tell struggle, but you may not see that in your perspective. But also, just like they show love too, you know, I hope my photos tell the love that I have for the Bay Area.\u003c/span>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Hey Rightnowish listeners, you can help shape the future of the podcast!\u003ca href=\"https://survey.alchemer.com/s3/6838454/2e522245cbb6\" target=\"_blank\" rel=\"noopener noreferrer\"> Just fill out a short survey.\u003c/a>\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>East Bay photographer\u003ca href=\"https://www.instagram.com/iamsydneywelch/\" target=\"_blank\" rel=\"noopener noreferrer\"> Sydney Welch \u003c/a>has compiled a collection of photos that serve as a highlight reel for the latest wave of talented hip-hop and R&B artists emerging from the Bay Area, including Stunnaman02, LaRussell, Kehlani, P-Lo, Su’Lan, Larry June, and Rexx Life Raj.\u003c/p>\n\u003cp>And that doesn’t even scratch the surface of her portfolio. Her collection is like a stack of baseball cards, full of rare rookies.\u003c/p>\n\u003cp>\u003ca href=\"https://shotsbysydney.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Her images\u003c/a> are captured at concerts, showing artists rocking the crowd or having an intimate moment backstage. She has Polaroid photos taken at parties and magazine-style portraits shot on film.\u003c/p>\n\u003cp>Most importantly: Sydney’s images aren’t taken from an outsider perspective. Before becoming a professional photographer, Sydney was a regular at local Bay Area hip-hop and R&B shows, supporting talent on the rise.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sydney grew up in Fremont and after studying journalism in high school and at San Francisco State University, Sydney is now behind the camera at concerts and community gatherings. She’s often seen with multiple cameras strapped to her person, in full shooter mode.\u003c/p>\n\u003cp>This week Sydney Welch tells us about her ultimate professional goals, how she relies on grace to navigate the notoriously treacherous music industry, and why she’s so passionate about representing the Bay through photos of the artists who are currently providing the soundtrack of our time.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8682552209&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Read the podcast \u003ca href=\"https://drive.google.com/file/d/106v47Lh3QrtzMyu7DpLCpiMuiyeS2I5Z/view?usp=sharing\">transcript\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Sydney Welch.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Back in May of this year, I bumped into Sydney at an event thrown by Oakland based non-profit Urban Peace Movement. \u003c/em>\u003cem>In the crowd of a couple hundred people gathered around Lake Merritt’s bandstand, there was Sydney: moving through the crowd, with three cameras strapped to her person. I had my handy-dandy digital camera on me. But Sydney? She was in full-blown shooter mode.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: Film has always been my favorite form of photography. \u003c/span>\u003cspan style=\"font-weight: 400\">It just gives like that historic, like that dope vibe. \u003c/span>\u003cspan style=\"font-weight: 400\">When I was in high school, I literally shot with the film camera before I shot with a digital camera. So I was in a dark room with my teachers at lunch time. Growing up my mom was a photographer as well.\u003c/span> \u003cspan style=\"font-weight: 400\">She did film photography on the side, she always had her camera on her. \u003c/span>\u003c/p>\n\u003cp>\u003cem>Pen: In her junior year of high school, Sydney landed an internship with the San Jose Mercury News as a writer and photographer. It was her formal introduction to the industry.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: But also during that time in high school, I was really in music a lot. Like I was listening to HBK a lot. Kehlani, G-Eazy, literally every Bay Area artist. And so that really gave me a big, sort of inspiration, I feel like, to where I am today. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_5044-800x535.jpeg\" alt=\"Photographer Sydney Welch in action.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-800x535.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-1020x682.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044.jpeg 1284w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Sydney Welch in action. \u003ccite>(Joshua Lee Kennedy/@Sadfiphotoz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: There’s a big variable behind this, it’s you and your identity as a Black woman. What does that bring to the table? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: That really just brings my voice, you know, not being afraid to really express who I am through my work, but to also, you know, inspire another Black person like myself to get out of their comfort zone and to try something new, no matter how scary it may seem or how intimidating it may seem. \u003c/span>\u003cspan style=\"font-weight: 400\">Sometimes with like, you know, people’s intentions and stuff like that, you have to be on your guard more than ever, especially being a Black woman. Like people will try you. They will try you, especially if you’re good looking as well. \u003c/span>\u003cspan style=\"font-weight: 400\">And it’s like, ‘I’m here to work. If you can’t respect me working, then I’m not working with you ever again.’ Like, it’s, it’s that serious. \u003c/span>\u003cspan style=\"font-weight: 400\"> I will just never, you know, dim myself and disrespect myself to make somebody else comfortable.\u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: What story do your photos tell? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Sydney:\u003c/em> My photos tell history. They tell passion. They tell art. Some may tell struggle, but you may not see that in your perspective. But also, just like they show love too, you know, I hope my photos tell the love that I have for the Bay Area.\u003c/span>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It doesn’t get much more gloriously San Francisco than this: as the sun slowly sets with the Golden Gate Bridge in the background, two drag performers elicit whoops and cheers to the tune of Kate Bush’s “Running Up That Hill.” It’s \u003ca href=\"https://www.goldenhourdrag.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Golden Hour Drag\u003c/a>, a show that takes place every Friday, Saturday and Sunday at Baker Beach.\u003c/p>\n\u003cp>Hosted by a rotating cast of local drag luminaries, including \u003ca href=\"https://www.instagram.com/nicki_jizz/\" target=\"_blank\" rel=\"noopener noreferrer\">Nicki Jizz\u003c/a>, \u003ca href=\"https://www.instagram.com/itsmaryvice/\" target=\"_blank\" rel=\"noopener noreferrer\">Mary Vice\u003c/a>, \u003ca href=\"https://www.instagram.com/yourdeadsister/\" target=\"_blank\" rel=\"noopener noreferrer\">Die Anna\u003c/a>, \u003ca href=\"https://www.instagram.com/veritas_22/\" target=\"_blank\" rel=\"noopener noreferrer\">Vera!\u003c/a> and “sand witch” \u003ca href=\"https://www.instagram.com/itsmaryvice/\" target=\"_blank\" rel=\"noopener noreferrer\">Syzygy\u003c/a>, Golden Hour stages drag shows against one of the most stunning settings the Bay Area has to offer, and gives it a run for its money.\u003c/p>\n\u003cfigure id=\"attachment_13920110\" class=\"wp-caption aligncenter\" style=\"max-width: 1128px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GoldenHourFlag.jpeg\" alt=\"Flag on beach with image of drag performer, Golden Gate Bridge behind\" width=\"1128\" height=\"846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag.jpeg 1128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag-768x576.jpeg 768w\" sizes=\"(max-width: 1128px) 100vw, 1128px\">\u003cfigcaption class=\"wp-caption-text\">Wojack’s photographs will join the performances that inspired them for three shows. \u003ccite>(Courtesy Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For shows on Oct. 8, Oct. 16 and Oct. 21, an added layer of artistry joins the sunset seaside performances. San Francisco photographer \u003ca href=\"https://aaronwojack.com/GoldenHour\" target=\"_blank\" rel=\"noopener noreferrer\">Aaron Wojack\u003c/a> started documenting the scene’s artists and their audiences in the before-times, capturing the neon hues of the sky, incredible costumes and moments of drama as the fog rolled in.\u003c/p>\n\u003cp>Now he’s presenting a selection of these images as a half-dozen flags alongside three October shows, the first of which is hosted by \u003ca href=\"https://www.instagram.com/iamtranslucent/\" target=\"_blank\" rel=\"noopener noreferrer\">TRANSLUCENT\u003c/a> and features \u003ca href=\"https://www.instagram.com/bratalie33/\" target=\"_blank\" rel=\"noopener noreferrer\">Kitty Litter\u003c/a> at Lobos Creek. Wojack recommends viewers bring a jacket, something to sit on and their own desired refreshments. And of course, they should have cash or Venmo ready (it’s a drag show, after all).\u003c/p>\n\u003cp>\u003cem>Golden Hour Drag takes place every Friday at the Baker Beach Sand Ladder, and Saturdays and Sundays at Lobos Creek. Shows take place 3–6:30 p.m., with performances starting at 5:30 p.m. \u003ca href=\"https://www.goldenhourdrag.com/shows\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It doesn’t get much more gloriously San Francisco than this: as the sun slowly sets with the Golden Gate Bridge in the background, two drag performers elicit whoops and cheers to the tune of Kate Bush’s “Running Up That Hill.” It’s \u003ca href=\"https://www.goldenhourdrag.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Golden Hour Drag\u003c/a>, a show that takes place every Friday, Saturday and Sunday at Baker Beach.\u003c/p>\n\u003cp>Hosted by a rotating cast of local drag luminaries, including \u003ca href=\"https://www.instagram.com/nicki_jizz/\" target=\"_blank\" rel=\"noopener noreferrer\">Nicki Jizz\u003c/a>, \u003ca href=\"https://www.instagram.com/itsmaryvice/\" target=\"_blank\" rel=\"noopener noreferrer\">Mary Vice\u003c/a>, \u003ca href=\"https://www.instagram.com/yourdeadsister/\" target=\"_blank\" rel=\"noopener noreferrer\">Die Anna\u003c/a>, \u003ca href=\"https://www.instagram.com/veritas_22/\" target=\"_blank\" rel=\"noopener noreferrer\">Vera!\u003c/a> and “sand witch” \u003ca href=\"https://www.instagram.com/itsmaryvice/\" target=\"_blank\" rel=\"noopener noreferrer\">Syzygy\u003c/a>, Golden Hour stages drag shows against one of the most stunning settings the Bay Area has to offer, and gives it a run for its money.\u003c/p>\n\u003cfigure id=\"attachment_13920110\" class=\"wp-caption aligncenter\" style=\"max-width: 1128px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GoldenHourFlag.jpeg\" alt=\"Flag on beach with image of drag performer, Golden Gate Bridge behind\" width=\"1128\" height=\"846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag.jpeg 1128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GoldenHourFlag-768x576.jpeg 768w\" sizes=\"(max-width: 1128px) 100vw, 1128px\">\u003cfigcaption class=\"wp-caption-text\">Wojack’s photographs will join the performances that inspired them for three shows. \u003ccite>(Courtesy Aaron Wojack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For shows on Oct. 8, Oct. 16 and Oct. 21, an added layer of artistry joins the sunset seaside performances. San Francisco photographer \u003ca href=\"https://aaronwojack.com/GoldenHour\" target=\"_blank\" rel=\"noopener noreferrer\">Aaron Wojack\u003c/a> started documenting the scene’s artists and their audiences in the before-times, capturing the neon hues of the sky, incredible costumes and moments of drama as the fog rolled in.\u003c/p>\n\u003cp>Now he’s presenting a selection of these images as a half-dozen flags alongside three October shows, the first of which is hosted by \u003ca href=\"https://www.instagram.com/iamtranslucent/\" target=\"_blank\" rel=\"noopener noreferrer\">TRANSLUCENT\u003c/a> and features \u003ca href=\"https://www.instagram.com/bratalie33/\" target=\"_blank\" rel=\"noopener noreferrer\">Kitty Litter\u003c/a> at Lobos Creek. Wojack recommends viewers bring a jacket, something to sit on and their own desired refreshments. And of course, they should have cash or Venmo ready (it’s a drag show, after all).\u003c/p>\n\u003cp>\u003cem>Golden Hour Drag takes place every Friday at the Baker Beach Sand Ladder, and Saturdays and Sundays at Lobos Creek. Shows take place 3–6:30 p.m., with performances starting at 5:30 p.m. \u003ca href=\"https://www.goldenhourdrag.com/shows\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "KK Brinson, a Black Cowgirl from Oakland, Gets Ready for Her Comeback",
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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/kk.t.b.r_/\" target=\"_blank\" rel=\"noopener noreferrer\">KK Brinson\u003c/a> was just nine years old when she rode her first horse. “I was just a girl that rode, and was a trail rider that would go down to the beach all the time in Daly City, California and, you know, just ride her horse recklessly,” Brinson says with a laugh, “but it taught me well.”\u003c/p>\n\u003cp>After that first ride—and thanks to her grandmother, who nurtured her passion—Brinson never looked back. Today, she’s a barrel racer who has won various competitions throughout Northern California. (Barrel racing, on a professional level, is an all-women rodeo event in which cowgirls have to race around three barrels in a cloverleaf pattern. The fastest rider wins.)\u003c/p>\n\u003cp>Last weekend on July 9 and 10, Brinson competed at the \u003ca href=\"https://www.billpickettrodeo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bill Pickett Invitational Rodeo\u003c/a> (BPIR). William “Bill” Pickett was born in 1870 in Taylor, Texas. He invented the specialty rodeo event “bulldogging,” also known as steer wrestling, and is one of the most well known Black cowboys in American history. The touring event named in his honor celebrates Black cowboy culture around the country.\u003c/p>\n\u003cp>Participating in another BPIR feels like a homecoming for Brinson, making it even more important to “show up and show out.”\u003c/p>\n\u003cp>“When I was 13, that was the first rodeo I ever started with. That was the first rodeo I’ve ever seen. That was the first rodeo that I was ever welcome to,” Brinson says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Excitement filled the air at Rowell Ranch Rodeo in Castro Valley this Sunday, where the BPIR made its 38th return to the Bay Area. After a two-year absence due to the pandemic, this year’s show just so happens to coincide with what Brinson considers her comeback year.\u003c/p>\n\u003cp>“As far as my comeback year, it’s just like, I’ve done bad in the past and I think this time I have a good chance of winning some money, at least, you know,” Brinson says. “So it’s like, I want to come back for myself. I don’t want to do it for show or for everybody else to prove a point.”\u003c/p>\n\u003cp>For Brinson, making a comeback is a lot deeper than just winning a barrel racing competition. Building deep bonds with her horses and working with them every day is what matters. Her goal is to turn her two green horses into finished ones who’ve completed their training and are ready to compete. Taking Kairo, a 12-year-old Sorrel American Quarter horse, to actually race for the first time at a rodeo is a win as far as she’s concerned.\u003c/p>\n\u003cfigure id=\"attachment_13916024\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916024\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson runs drills with Kairo on June 16, 2022 in Pleasanton. With all the moving pieces that come with being a cowgirl, Brinson manages stressful moments by giving herself a break from the ranch for a few days before returning. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brinson built herself and her horses from the ground up. She never really had lessons or training; it was through YouTube that she even learned about professional barrel racing.\u003c/p>\n\u003cp>Brinson often describes how she can be wearing a pair of Jordans in Oakland, where she lives, one day, and a pair of cowgirl boots at practice in Pleasanton the next. Balancing city life with country life. She wants this to be a reality for other young Black women.\u003c/p>\n\u003cp>Having such an iconic rodeo come to the Bay Area is vital because, as Brinson puts it, she’s met some Black people who haven’t been to a Black rodeo, or even a rodeo at all.\u003c/p>\n\u003cp>“They will take that memory and it will live in their heads all their life,” Brinson explains. “Especially if it’s your first experience.”\u003c/p>\n\u003cfigure id=\"attachment_13916026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916026\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-800x528.jpg\" alt=\"\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-1536x1014.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson rests with Galaxii inbetween practice on June 16, 2022 in Pleasanton. Brinson got Galaxii as a fresh horse with no rodeo training. “He was green, he was fresh. He didn’t know anything, he didn’t know where his feet was … he knew his speed but he didn’t know how to control it,” Brinson says. She has worked with him almost daily since then with the goal of having him finished all by herself. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s evident that people recognize how much time and energy she puts into perfecting her skills. On Sunday after her race, young Black children came up to Brinson for pictures, hugs and autographs. She uses her position to be a role model.\u003c/p>\n\u003cp>“I feel like it’s a good representation of leadership, being accountable of my doings. It’s a good representation that all Black people are not negative,” says Brinson.\u003c/p>\n\u003cp>Although Brinson wasn’t thrilled about her run this weekend, finishing with a time of 20.6 seconds on Sunday, she knows that she can’t always win. The important thing was getting her skills down right in unison with Kairo. She took pride in Kairo keeping her safe and doing his best.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“My [goal], I want to say, is to become the first African American woman to be in the National Finals Rodeo,” Brinson says. “I want to at least say, ‘I did it. I conquered, let’s go get some more.’”\u003c/p>\n\u003cfigure id=\"attachment_13916022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson shops for some supplies on June 16, 2022 in Pleasanton. “We pay for dental work, vet bills, clothing, accessories like bits and saddles, the trailer, the truck, all that … it’s a lot, it’s expensive. It’s not like in your regular city budget,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson shops with her mom for supplies on June 16, 2022 in Pleasanton. “My mom is a single parent who raised me all my life. She’s taken care of me, she’s taken care of my horses,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916027\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson feeds Kairo on June 16, 2022 in Pleasanton. Kairo struggles with anxiety and scares easily. “But he’s been improving, you know, been getting close to checks and winning. So, hard work pays off,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916033\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson does some maintenance on Kairo’s shoes before taking him into the arena to practice on June 16, 2022 in Pleasanton. “Finishing” Kairo is one of Brinson’s main goals as a cowgirl and a way for her to build up her legacy. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson rinses Kairo off after a jackpot race at the Rafter D Ranch on May 15, 2022 in Brentwood. Kairo was a healer before becoming Brinson’s barrel race horse, so he was considered totally “green.” \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson waits with Kairo as he hydrates after a jackpot race at the Rafter D Ranch on May 15, 2022 in Brentwood. A jackpot race, different from the rodeo barrel racing event, is a divisional event with extra added money. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson talks with one of her mentors, Sam Styles, after competing in a jackpot race on May 15, 2022 in Brentwood. Brinson started barrel racing when she was 13 years old. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916029\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916029\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson rides into the arena with the rest of the cowboys and cowgirls for the Grand Entry of the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. The Oakland BPIR is the first rodeo Brinson ever attended, and she’s gone back every year since. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916045\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-49-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-1536x1030.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-2048x1374.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-1920x1288.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson competes in an exhibition barrel race at the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-55-800x549.jpg\" alt=\"\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-2048x1405.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-1920x1317.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson competes in an exhibition barrel race at the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. Brinson rode her horse Kairo and they finished with time of 20.6 seconds; the lower the time, the more likely a contestant will win the prize. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916028\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916028\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As the Black National Anthem plays, a cowgirl rides around the center arena holding the Pan-African flag at the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. This has been a tradition at the BPIR every year. It speaks to the rich history and endless contributions Black people have given to this country, especially within cowboy culture. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916046\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-37-800x543.jpg\" alt=\"\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-1536x1043.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-2048x1391.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-1920x1304.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rodeo fans watch performances at the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. BPIR is the only touring Black rodeo in the country, stopping in the East Bay for the past 38 years. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson during the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley, CA. Brinson rode her horse Kairo; it was his first rodeo. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916054\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916054\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-24-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson catches up with family and friends after participating in the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. They were thrilled to see her, asking for autographs, photographs and hugs.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916047\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-30-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson poses for photos with rodeo fans and friends after the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson poses for photos with rodeo fans and friends after the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. Brinson shared that her path as a city cowgirl can get lonely sometimes. “But I do like the fact that I am kind of the face of the representation of barrel racing in the Black community, and I will always love to teach one and pass it on,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916038\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-20.jpg\" alt=\"\" width=\"800\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-20.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-20-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-20-768x1162.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson poses for a portrait after participating in the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. “That was the first rodeo I ever started with. That was the first rodeo I’ve ever seen. That was the first rodeo that I was ever welcome to … So it’s kind of like if you leave home and you come back to home, you know, you gotta show up and show out. Like, I have to go back to that every year,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"title": "KK Brinson, a Black Cowgirl from Oakland, Gets Ready for Her Comeback | KQED",
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"headline": "KK Brinson, a Black Cowgirl from Oakland, Gets Ready for Her Comeback",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/kk.t.b.r_/\" target=\"_blank\" rel=\"noopener noreferrer\">KK Brinson\u003c/a> was just nine years old when she rode her first horse. “I was just a girl that rode, and was a trail rider that would go down to the beach all the time in Daly City, California and, you know, just ride her horse recklessly,” Brinson says with a laugh, “but it taught me well.”\u003c/p>\n\u003cp>After that first ride—and thanks to her grandmother, who nurtured her passion—Brinson never looked back. Today, she’s a barrel racer who has won various competitions throughout Northern California. (Barrel racing, on a professional level, is an all-women rodeo event in which cowgirls have to race around three barrels in a cloverleaf pattern. The fastest rider wins.)\u003c/p>\n\u003cp>Last weekend on July 9 and 10, Brinson competed at the \u003ca href=\"https://www.billpickettrodeo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bill Pickett Invitational Rodeo\u003c/a> (BPIR). William “Bill” Pickett was born in 1870 in Taylor, Texas. He invented the specialty rodeo event “bulldogging,” also known as steer wrestling, and is one of the most well known Black cowboys in American history. The touring event named in his honor celebrates Black cowboy culture around the country.\u003c/p>\n\u003cp>Participating in another BPIR feels like a homecoming for Brinson, making it even more important to “show up and show out.”\u003c/p>\n\u003cp>“When I was 13, that was the first rodeo I ever started with. That was the first rodeo I’ve ever seen. That was the first rodeo that I was ever welcome to,” Brinson says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Excitement filled the air at Rowell Ranch Rodeo in Castro Valley this Sunday, where the BPIR made its 38th return to the Bay Area. After a two-year absence due to the pandemic, this year’s show just so happens to coincide with what Brinson considers her comeback year.\u003c/p>\n\u003cp>“As far as my comeback year, it’s just like, I’ve done bad in the past and I think this time I have a good chance of winning some money, at least, you know,” Brinson says. “So it’s like, I want to come back for myself. I don’t want to do it for show or for everybody else to prove a point.”\u003c/p>\n\u003cp>For Brinson, making a comeback is a lot deeper than just winning a barrel racing competition. Building deep bonds with her horses and working with them every day is what matters. Her goal is to turn her two green horses into finished ones who’ve completed their training and are ready to compete. Taking Kairo, a 12-year-old Sorrel American Quarter horse, to actually race for the first time at a rodeo is a win as far as she’s concerned.\u003c/p>\n\u003cfigure id=\"attachment_13916024\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916024\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-07-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson runs drills with Kairo on June 16, 2022 in Pleasanton. With all the moving pieces that come with being a cowgirl, Brinson manages stressful moments by giving herself a break from the ranch for a few days before returning. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brinson built herself and her horses from the ground up. She never really had lessons or training; it was through YouTube that she even learned about professional barrel racing.\u003c/p>\n\u003cp>Brinson often describes how she can be wearing a pair of Jordans in Oakland, where she lives, one day, and a pair of cowgirl boots at practice in Pleasanton the next. Balancing city life with country life. She wants this to be a reality for other young Black women.\u003c/p>\n\u003cp>Having such an iconic rodeo come to the Bay Area is vital because, as Brinson puts it, she’s met some Black people who haven’t been to a Black rodeo, or even a rodeo at all.\u003c/p>\n\u003cp>“They will take that memory and it will live in their heads all their life,” Brinson explains. “Especially if it’s your first experience.”\u003c/p>\n\u003cfigure id=\"attachment_13916026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916026\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-800x528.jpg\" alt=\"\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09-1536x1014.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-09.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson rests with Galaxii inbetween practice on June 16, 2022 in Pleasanton. Brinson got Galaxii as a fresh horse with no rodeo training. “He was green, he was fresh. He didn’t know anything, he didn’t know where his feet was … he knew his speed but he didn’t know how to control it,” Brinson says. She has worked with him almost daily since then with the goal of having him finished all by herself. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s evident that people recognize how much time and energy she puts into perfecting her skills. On Sunday after her race, young Black children came up to Brinson for pictures, hugs and autographs. She uses her position to be a role model.\u003c/p>\n\u003cp>“I feel like it’s a good representation of leadership, being accountable of my doings. It’s a good representation that all Black people are not negative,” says Brinson.\u003c/p>\n\u003cp>Although Brinson wasn’t thrilled about her run this weekend, finishing with a time of 20.6 seconds on Sunday, she knows that she can’t always win. The important thing was getting her skills down right in unison with Kairo. She took pride in Kairo keeping her safe and doing his best.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My [goal], I want to say, is to become the first African American woman to be in the National Finals Rodeo,” Brinson says. “I want to at least say, ‘I did it. I conquered, let’s go get some more.’”\u003c/p>\n\u003cfigure id=\"attachment_13916022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-04.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson shops for some supplies on June 16, 2022 in Pleasanton. “We pay for dental work, vet bills, clothing, accessories like bits and saddles, the trailer, the truck, all that … it’s a lot, it’s expensive. It’s not like in your regular city budget,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-05.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson shops with her mom for supplies on June 16, 2022 in Pleasanton. “My mom is a single parent who raised me all my life. She’s taken care of me, she’s taken care of my horses,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916027\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-10.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson feeds Kairo on June 16, 2022 in Pleasanton. Kairo struggles with anxiety and scares easily. “But he’s been improving, you know, been getting close to checks and winning. So, hard work pays off,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916033\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-06.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson does some maintenance on Kairo’s shoes before taking him into the arena to practice on June 16, 2022 in Pleasanton. “Finishing” Kairo is one of Brinson’s main goals as a cowgirl and a way for her to build up her legacy. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-03.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson rinses Kairo off after a jackpot race at the Rafter D Ranch on May 15, 2022 in Brentwood. Kairo was a healer before becoming Brinson’s barrel race horse, so he was considered totally “green.” \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-02-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson waits with Kairo as he hydrates after a jackpot race at the Rafter D Ranch on May 15, 2022 in Brentwood. A jackpot race, different from the rodeo barrel racing event, is a divisional event with extra added money. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-01-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson talks with one of her mentors, Sam Styles, after competing in a jackpot race on May 15, 2022 in Brentwood. Brinson started barrel racing when she was 13 years old. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916029\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916029\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-12-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson rides into the arena with the rest of the cowboys and cowgirls for the Grand Entry of the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. The Oakland BPIR is the first rodeo Brinson ever attended, and she’s gone back every year since. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916045\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-49-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-1536x1030.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-2048x1374.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-49-1920x1288.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson competes in an exhibition barrel race at the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-55-800x549.jpg\" alt=\"\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-2048x1405.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-55-1920x1317.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson competes in an exhibition barrel race at the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. Brinson rode her horse Kairo and they finished with time of 20.6 seconds; the lower the time, the more likely a contestant will win the prize. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916028\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916028\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-11-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As the Black National Anthem plays, a cowgirl rides around the center arena holding the Pan-African flag at the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. This has been a tradition at the BPIR every year. It speaks to the rich history and endless contributions Black people have given to this country, especially within cowboy culture. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916046\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-37-800x543.jpg\" alt=\"\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-1020x693.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-1536x1043.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-2048x1391.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-37-1920x1304.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rodeo fans watch performances at the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. BPIR is the only touring Black rodeo in the country, stopping in the East Bay for the past 38 years. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-31-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson during the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley, CA. Brinson rode her horse Kairo; it was his first rodeo. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916054\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916054\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-24-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-24-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson catches up with family and friends after participating in the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. They were thrilled to see her, asking for autographs, photographs and hugs.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916047\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220710_KK_BPIR-30-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220710_KK_BPIR-30-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson poses for photos with rodeo fans and friends after the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-16.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson poses for photos with rodeo fans and friends after the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. Brinson shared that her path as a city cowgirl can get lonely sometimes. “But I do like the fact that I am kind of the face of the representation of barrel racing in the Black community, and I will always love to teach one and pass it on,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13916038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916038\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/20220713_KK_FinalEdit-20.jpg\" alt=\"\" width=\"800\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-20.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-20-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/20220713_KK_FinalEdit-20-768x1162.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KK Brinson poses for a portrait after participating in the Bill Pickett Invitational Rodeo on Jul. 10, 2022 in Castro Valley. “That was the first rodeo I ever started with. That was the first rodeo I’ve ever seen. That was the first rodeo that I was ever welcome to … So it’s kind of like if you leave home and you come back to home, you know, you gotta show up and show out. Like, I have to go back to that every year,” Brinson says. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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],
"link": "/arts/13916039/kk-brinson-black-cowgirl-oakland-bill-pickett",
"authors": [
"11801"
],
"categories": [
"arts_1"
],
"tags": [
"arts_10342",
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"title": "Chloe Sherman’s ‘Renegade’ Photography Captures ’90s Queer Culture in SF",
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"content": "\u003cp>Thirty years ago, San Francisco was a place where people who were misfits everywhere else—queers, punks and artists alike—could come and find their chosen families regardless of how much money they had. \u003ca href=\"https://www.chloeshermanphotography.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Sherman\u003c/a>’s new exhibit at Schlomer Haus Gallery, \u003cem>Renegade San Francisco: The 1990s\u003c/em>, is a vibrant snapshot of what happened after they got here.\u003c/p>\n\u003cp>With her camera’s lens focused primarily on the lesbian community, Sherman captured the sticky dive bars, messy bedrooms and freewheeling couples of the era who lived unapologetically on their own terms.\u003c/p>\n\u003cfigure id=\"attachment_13915086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-800x532.png\" alt=\"Five butch women with short hair and leather accessories stand at a lunch counter, casually waiting to be served.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM.png 1590w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘Folsom St Fair,’ 1994. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The freedom \u003cem>Renegade\u003c/em>’s photos capture is still a joy to behold. It’s a journey through the Mission District, Castro and SoMa; through parties, street corner hangouts and car rides. The locations—the Lexington, Hole in the Wall and Folsom Street Fair included—remain secondary, however, to the characters on show and the tight-knit community they represented.\u003c/p>\n\u003cp>Whether they were lounging at home in silk gowns or donning duct tape bustiers to hit the town, these butch and femme rebels were clearly having the time of their lives. Their closeness and casual elation in that feeling of community is palpable throughout. And the things that were incidental to them at the time—talking on landlines, smoking cigarettes indoors and embodying a relentlessly thrifty fashion sensibility—are a delight to look back on.\u003c/p>\n\u003cfigure id=\"attachment_13915096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-800x532.png\" alt=\"A woman in a red halter neck maxi dress sweeps her long hair behind her neck, while standing next to an old red car in San Francisco. In front of the woman stands a butch person in a black and red cowboy shirt. A friend crouches next to them on the sidewalk, almost out of shot. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM.png 1594w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘The Heist,’ 1996. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chloe Sherman first moved to the city in 1991, before studying fine art photography at the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute\u003c/a>. That she had the foresight to document her community at the time is fortunate. That she’s sharing those images with the world now is a gift.\u003c/p>\n\u003cp>[ad fullwidth]\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>\n\u003cp>\u003cem>Chloe Sherman’s ‘Renegade San Francisco: The 1990s’ is on view at Schlomer Haus Gallery (2128 Market St., San Francisco) through July 30, 2022. \u003ca href=\"https://schlomerhaus.com/chloe-sherman\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Thirty years ago, Chloe Sherman photographed queer nightlife. A new exhibit shares what she saw. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirty years ago, San Francisco was a place where people who were misfits everywhere else—queers, punks and artists alike—could come and find their chosen families regardless of how much money they had. \u003ca href=\"https://www.chloeshermanphotography.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Sherman\u003c/a>’s new exhibit at Schlomer Haus Gallery, \u003cem>Renegade San Francisco: The 1990s\u003c/em>, is a vibrant snapshot of what happened after they got here.\u003c/p>\n\u003cp>With her camera’s lens focused primarily on the lesbian community, Sherman captured the sticky dive bars, messy bedrooms and freewheeling couples of the era who lived unapologetically on their own terms.\u003c/p>\n\u003cfigure id=\"attachment_13915086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-800x532.png\" alt=\"Five butch women with short hair and leather accessories stand at a lunch counter, casually waiting to be served.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-2.44.34-PM.png 1590w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘Folsom St Fair,’ 1994. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The freedom \u003cem>Renegade\u003c/em>’s photos capture is still a joy to behold. It’s a journey through the Mission District, Castro and SoMa; through parties, street corner hangouts and car rides. The locations—the Lexington, Hole in the Wall and Folsom Street Fair included—remain secondary, however, to the characters on show and the tight-knit community they represented.\u003c/p>\n\u003cp>Whether they were lounging at home in silk gowns or donning duct tape bustiers to hit the town, these butch and femme rebels were clearly having the time of their lives. Their closeness and casual elation in that feeling of community is palpable throughout. And the things that were incidental to them at the time—talking on landlines, smoking cigarettes indoors and embodying a relentlessly thrifty fashion sensibility—are a delight to look back on.\u003c/p>\n\u003cfigure id=\"attachment_13915096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-800x532.png\" alt=\"A woman in a red halter neck maxi dress sweeps her long hair behind her neck, while standing next to an old red car in San Francisco. In front of the woman stands a butch person in a black and red cowboy shirt. A friend crouches next to them on the sidewalk, almost out of shot. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Screen-Shot-2022-06-21-at-3.07.38-PM.png 1594w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe Sherman, ‘The Heist,’ 1996. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chloe Sherman first moved to the city in 1991, before studying fine art photography at the \u003ca href=\"https://www.kqed.org/arts/13892120/the-san-francisco-art-institute-that-could-have-been\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute\u003c/a>. That she had the foresight to document her community at the time is fortunate. That she’s sharing those images with the world now is a gift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "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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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"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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"order": 9
},
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"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",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"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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"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",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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",
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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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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
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