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"content": "\u003cfigure id=\"attachment_13930688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-800x998.jpg\" alt=\"A young Black girl sits on a gold throne, wearing a cream and gold gown, her long hair in perfect red locks. She is holding up a tea cup and saucer, as if poised to drink.\" width=\"800\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-1020x1273.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37.jpg 1197w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A new vision of Goldilocks, sipping tea. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is Goldilocks like you’ve never seen her.\u003c/p>\n\u003cp>Bathed in a golden light, she looks out from a photo resembling a fashion magazine spread with a commanding stare, surrounded by massive teddy bears. Instead of yellow curly hair, she wears thick, afro-textured, honey blonde locs.\u003c/p>\n\u003cp>[aside postid='arts_13894928']This is the Goldilocks of \u003cem> from the Diaspora\u003c/em> by husband and wife photographers Kahran and Regis Bethencourt. The two have reimagined familiar stories with photographs of Black children and, occasionally, new plot points, in an elaborate book of 141 photos.\u003c/p>\n\u003cp>It’s the sequel to 2021’s \u003cem>GLORY: Magical Visions of Black Beauty.\u003c/em>\u003c/p>\n\u003cp>The book is broken down into three categories: Classic fairy tales, African and African American Folktales and original stories. The couple intentionally casts Black children of different ages, skin tones and hair textures in traditionally white roles, like Cinderella.\u003c/p>\n\u003cfigure id=\"attachment_13930696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-800x1001.png\" alt=\"A young Black girl stands proudly before a regal blue curtain. She is wearing a blue, green and pink gown.\" width=\"800\" height=\"1001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-800x1001.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-1020x1276.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-160x200.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-768x961.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM.png 1036w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cinderella becomes Asha in this retelling. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the retelling of Cinderella, “Asha the Little Cinder Girl,” Asha wears an extravagant blue gown with purple tulle shooting from the bottom as Jamal, her Prince Charming, slides on a white high-top sneaker instead of a glass slipper.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps the most striking element in the picture is Asha’s hair, a structure of carefully placed black braids and white pearls piled high on top of her head.\u003c/p>\n\u003cp>“I think it’s important for, specifically, Black and brown kids to be able to see themselves reflected in the stories that they read growing up,” Kahran said.\u003c/p>\n\u003cp>The Bethencourts began their photography careers in Atlanta in 2009. For a while, they worked in the children’s fashion industry, capturing headshots for adolescent actors and shooting campaigns for kids’ brands. But they noticed a specific and unsettling pattern among Black children in the industry.\u003c/p>\n\u003cfigure id=\"attachment_13930697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-800x1003.png\" alt=\"A young Black boy wears a gold crown and read leather top featuring traditional African textile detailing.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-1020x1279.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poisoned Apple, from the book CROWNED, which casts Black children as the central characters in fairy and folk tales. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We realized that a lot of the kids that had natural Afro hair would come in to get their headshots and the parents would have their hair straightened because they thought that’s what they needed to do to get their kids into the industry,” Kahran said.\u003c/p>\n\u003cp>[aside postid='arts_13872372']“We thought, ‘Gosh, wow! At an early age we’re teaching our kids that they’re not acceptable, that their looks are not good enough.'”\u003c/p>\n\u003cp>The two began doing personal projects where Black children were encouraged to wear their natural hair in fashionable settings. Staying connected to the industry helped them build enough clientele to create their own photography company, CreativeSoul.\u003c/p>\n\u003cfigure id=\"attachment_13930699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-800x1003.png\" alt=\"A young Black girl wears a puffy gown that appears to be made from candy, wrappers and tulle. She is clutching a miniature cake in her hands.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-1020x1279.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Candyland, from the book ‘CROWNED’, which retells familiar stories with Black children. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>CROWNED\u003c/em> is a visual representation of the CreativeSoul original mission: celebrate and embrace natural Black beauty. But the book also showcases Regis and Kahran’s ability to imagine and translate new worlds.\u003c/p>\n\u003cp>[aside postid='arts_13919105']“Goldi: The Girl with the Golden Locks” was the favorite story for Regis to retell because the original story “didn’t really have a lesson at the end.”\u003c/p>\n\u003cp>“It pretty much was a story about a privileged girl going in and just eating everything and just leaving and going back home,” he said. “No lesson learned.”\u003c/p>\n\u003cp>In \u003cem>CROWNED\u003c/em>, Goldi is still a privileged girl, but she is welcomed into the bears’ home. The bears don’t have much, but they have each other and a once-haughty Goldi leaves the house with three new friends and an appreciation for nurturing her relationships.\u003c/p>\n\u003cp>Changing the ending “was so cool for me because I feel like we’re actually changing history,” Regis said.\u003c/p>\n\u003cfigure id=\"attachment_13930701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930701\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-800x1003.png\" alt=\"A little Black girl, dressed as a mermaid with an exaggeratedly large hairdo stands in a sea scape, looking poised.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-1020x1278.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM.png 1034w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Treasures from the sea nestle in the little mermaid’s rosy hair as she strikes a royal pose. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book was released May 23, three days before the live action film \u003cem>The Little Mermaid\u003c/em> premiered with Halle Bailey, a Black woman with natural locs, as Ariel, a princess and the main character.\u003c/p>\n\u003cp>[aside postid='arts_13926336']Like the live-action adaption of \u003cem>The Little Mermaid\u003c/em>, the Bethencourts’ version is setting the standard for Black representation in traditionally white spaces.\u003c/p>\n\u003cp>The husband and wife duo dress Aliyah, the little mermaid, in silver jewels and colorful pearls from head-to-toe. As she floats under the sea, she plays in her big red flowing hair filled with loose braids, shells, leaves and bright red tulle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Aliyah holds her head high in every shot like the most confident, royal figures. She stares off into the distance and also directly at the camera, as if to say this story was always her own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+husband+and+wife+reimagine+fairy+tales+with+Black+children+in+mind&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13930688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-800x998.jpg\" alt=\"A young Black girl sits on a gold throne, wearing a cream and gold gown, her long hair in perfect red locks. She is holding up a tea cup and saucer, as if poised to drink.\" width=\"800\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-1020x1273.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37.jpg 1197w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A new vision of Goldilocks, sipping tea. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is Goldilocks like you’ve never seen her.\u003c/p>\n\u003cp>Bathed in a golden light, she looks out from a photo resembling a fashion magazine spread with a commanding stare, surrounded by massive teddy bears. Instead of yellow curly hair, she wears thick, afro-textured, honey blonde locs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is the Goldilocks of \u003cem> from the Diaspora\u003c/em> by husband and wife photographers Kahran and Regis Bethencourt. The two have reimagined familiar stories with photographs of Black children and, occasionally, new plot points, in an elaborate book of 141 photos.\u003c/p>\n\u003cp>It’s the sequel to 2021’s \u003cem>GLORY: Magical Visions of Black Beauty.\u003c/em>\u003c/p>\n\u003cp>The book is broken down into three categories: Classic fairy tales, African and African American Folktales and original stories. The couple intentionally casts Black children of different ages, skin tones and hair textures in traditionally white roles, like Cinderella.\u003c/p>\n\u003cfigure id=\"attachment_13930696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-800x1001.png\" alt=\"A young Black girl stands proudly before a regal blue curtain. She is wearing a blue, green and pink gown.\" width=\"800\" height=\"1001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-800x1001.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-1020x1276.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-160x200.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-768x961.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM.png 1036w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cinderella becomes Asha in this retelling. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the retelling of Cinderella, “Asha the Little Cinder Girl,” Asha wears an extravagant blue gown with purple tulle shooting from the bottom as Jamal, her Prince Charming, slides on a white high-top sneaker instead of a glass slipper.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps the most striking element in the picture is Asha’s hair, a structure of carefully placed black braids and white pearls piled high on top of her head.\u003c/p>\n\u003cp>“I think it’s important for, specifically, Black and brown kids to be able to see themselves reflected in the stories that they read growing up,” Kahran said.\u003c/p>\n\u003cp>The Bethencourts began their photography careers in Atlanta in 2009. For a while, they worked in the children’s fashion industry, capturing headshots for adolescent actors and shooting campaigns for kids’ brands. But they noticed a specific and unsettling pattern among Black children in the industry.\u003c/p>\n\u003cfigure id=\"attachment_13930697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-800x1003.png\" alt=\"A young Black boy wears a gold crown and read leather top featuring traditional African textile detailing.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-1020x1279.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poisoned Apple, from the book CROWNED, which casts Black children as the central characters in fairy and folk tales. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We realized that a lot of the kids that had natural Afro hair would come in to get their headshots and the parents would have their hair straightened because they thought that’s what they needed to do to get their kids into the industry,” Kahran said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We thought, ‘Gosh, wow! At an early age we’re teaching our kids that they’re not acceptable, that their looks are not good enough.'”\u003c/p>\n\u003cp>The two began doing personal projects where Black children were encouraged to wear their natural hair in fashionable settings. Staying connected to the industry helped them build enough clientele to create their own photography company, CreativeSoul.\u003c/p>\n\u003cfigure id=\"attachment_13930699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-800x1003.png\" alt=\"A young Black girl wears a puffy gown that appears to be made from candy, wrappers and tulle. She is clutching a miniature cake in her hands.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-1020x1279.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Candyland, from the book ‘CROWNED’, which retells familiar stories with Black children. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>CROWNED\u003c/em> is a visual representation of the CreativeSoul original mission: celebrate and embrace natural Black beauty. But the book also showcases Regis and Kahran’s ability to imagine and translate new worlds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Goldi: The Girl with the Golden Locks” was the favorite story for Regis to retell because the original story “didn’t really have a lesson at the end.”\u003c/p>\n\u003cp>“It pretty much was a story about a privileged girl going in and just eating everything and just leaving and going back home,” he said. “No lesson learned.”\u003c/p>\n\u003cp>In \u003cem>CROWNED\u003c/em>, Goldi is still a privileged girl, but she is welcomed into the bears’ home. The bears don’t have much, but they have each other and a once-haughty Goldi leaves the house with three new friends and an appreciation for nurturing her relationships.\u003c/p>\n\u003cp>Changing the ending “was so cool for me because I feel like we’re actually changing history,” Regis said.\u003c/p>\n\u003cfigure id=\"attachment_13930701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930701\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-800x1003.png\" alt=\"A little Black girl, dressed as a mermaid with an exaggeratedly large hairdo stands in a sea scape, looking poised.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-1020x1278.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM.png 1034w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Treasures from the sea nestle in the little mermaid’s rosy hair as she strikes a royal pose. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book was released May 23, three days before the live action film \u003cem>The Little Mermaid\u003c/em> premiered with Halle Bailey, a Black woman with natural locs, as Ariel, a princess and the main character.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like the live-action adaption of \u003cem>The Little Mermaid\u003c/em>, the Bethencourts’ version is setting the standard for Black representation in traditionally white spaces.\u003c/p>\n\u003cp>The husband and wife duo dress Aliyah, the little mermaid, in silver jewels and colorful pearls from head-to-toe. As she floats under the sea, she plays in her big red flowing hair filled with loose braids, shells, leaves and bright red tulle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Aliyah holds her head high in every shot like the most confident, royal figures. She stares off into the distance and also directly at the camera, as if to say this story was always her own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+husband+and+wife+reimagine+fairy+tales+with+Black+children+in+mind&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "heklina-castro-memorial",
"title": "The Castro Honored Heklina with Drag, Music and Cackles",
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"headTitle": "The Castro Honored Heklina with Drag, Music and Cackles | KQED",
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"content": "\u003cp>Heklina first arrived in San Francisco in the early ’90s, “with no real plan,” as she put in a \u003ca href=\"https://www.youtube.com/watch?v=61qbUimYg9g&t=823s\">KQED documentary from 2015\u003c/a>. “Immediately, I fell in love with it, and I felt right at home.” [aside postid='arts_13927233']\u003c/p>\n\u003cp>And on Tuesday evening, San Francisco returned that love to Heklina, who helped transform drag and elevate queer nightlife in the Bay Area over the past three decades. Heklina died unexpectedly on April 3 in London, where she had traveled to star in the drag parody \u003ci>Mommie Queerest\u003c/i> at the Soho Theatre alongside her close friend Peaches Christ.\u003c/p>\n\u003cp>Friends of Heklina organized a memorial at the Castro Theatre, its iconic marquee emblazoned with Heklina’s name. Tickets sold out weeks in advance, so organizers closed down the entire block outside the theater, from Market to 18th Street, to bring in jumbotrons that live-streamed the memorial to a crowd of hundreds of well-wishers and admirers.\u003c/p>\n\u003cfigure id=\"attachment_13929606\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"Two drag artists speak with microphones to a large crowd in front of San Francisco's Castro Theater.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sister Roma (left) and Dulce De Leche (right) speak during a memorial for Heklina outside the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Heklina was not just a talented and versatile performer, she also dedicated herself to making more spaces available for drag in San Francisco. In 1996, she created the long-running show Trannyshack at The Stud (which she later renamed Mother), offering a platform for funny, rebellious and experimental new performers. Heklina also co-founded the popular SoMa club and cabaret Oasis in 2015 alongside D’Arcy Drollinger. Although she sold her ownership stake in 2019, she remained a beloved fixture there. Most recently, she hosted the popular Daytime Realness party at El Rio in the Mission.\u003c/p>\n\u003cfigure id=\"attachment_13929614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"Two drag performers, dressed up in very colorful wigs and puffy dresses, smile at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pippi Lovestocking (left) and Mutha Chucka pose for a photo outside the Castro Theatre in San Francisco on May 23, 2023, before a memorial for Heklina, who died in April. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many remember Heklina for her firecracker personality, which she owned in her drag. “I just feel like I’m living a very, perhaps to most people, abnormal life. I make a living doing something that is … not considered normal,” Heklina said in 2015. “When you’re walking down the street in makeup and a dress and high heels and all that stuff, you do get an attitude change. You become much more bold, [because] people yell things at you and you just have to be ready to take everything on.”\u003c/p>\n\u003cfigure id=\"attachment_13929627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">During a memorial for Heklina, photos of her play onscreen outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the memorial hosted by LOL McFiercen and Dulce De Leche, Heklina’s longtime friend Nancy French took the stage to lead a moment of silence, but quickly changed her mind. “A basic moment of silence is not going to work,” French said. “It’s so basic, she would have hated it.”\u003c/p>\n\u003cp>French asked the crowd to join her in a “community cackle,” referring to Heklina’s loud and distinct laugh. With that, Castro Street filled with hundreds of cackles.\u003c/p>\n\u003cfigure id=\"attachment_13929607\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929607\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A crowd of hundreds, of all ages, stands outside on San Francisco's Castro Street and laughs, many with smiles on their faces. In the background, there are balloons in the shape of the letters that spell out "Heklina."\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds join Heklina’s friend Nancy French in a ‘community cackle’ outside the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jennifer Hofmann, 53, of San Francisco, stood outside the Castro Theatre to pay her respects for Heklina. “[Heklina] helped me grow up to figure out who I was in San Francisco,” she said, noting how meaningful it was for her to see Heklina perform at Trannyshack in the ’90s.\u003c/p>\n\u003cp>“She made it OK that drag wasn’t perfect. She made it OK that you could make ugly drag and people would love that and throw dollars at you, too,” Hoffman said. “As long as you had something to say and were willing to get up on stage and do it, you were always welcome.”\u003c/p>\n\u003cp>“She welcomed everyone,” Hoffman continued. “She sassed everyone. If you got sassed by Heklina, you felt like you’ve made it.”\u003c/p>\n\u003cfigure id=\"attachment_13929611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A drag performer holds a microphone in one hand, and with the other, holds a marker and draws a beauty mark on the face of a woman standing in the crowd outside the Castro Theater.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Co-host LOL McFiercen paints a beauty mark on Linda Lee’s face in honor of Heklina during a memorial outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darwin Bell, 57, moved to San Francisco in 1987, and Heklina was first drag queen he ever saw perform. “It was very punk rock,” he said of that first show.\u003c/p>\n\u003cp>Heklina embraced more transgressive forms of drag, he recalled, adding that he hopes that San Francisco doesn’t lose that edge without her around. Bell and his friends went to so many shows featuring or organized by Heklina that they would joke among themselves, “At the end of the world, there’s going to be Cher, roaches and Heklina.”\u003c/p>\n\u003cp>“I never even thought there would be world without Heklina,” he said. “She was always kind of bitter and funny and mean, and I just never thought there would be a world without her.”\u003c/p>\n\u003cfigure id=\"attachment_13929613\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929613\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A large crowd stands on Castro Street in front of Castro Theater, and in the middle of the crowed, a young couple hugs and kisses.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Despite the strong winds, a crowd of hundreds gathers outside of the Castro Theatre to watch drag performances in honor of Heklina. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside, the Castro Theatre’s 1,407 seats filled up. Close friends of Heklina, including D’Arcy Drollinger and Peaches Christ, took the stage to share some of their fondest memories — infused with Heklina’s relentless humor and love for San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13929618\" class=\"wp-caption aligncenter\" style=\"max-width: 2392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2.jpg\" alt=\"Three drag artists stand on a stage. All are wearing very elaborate dresses and big wigs.\" width=\"2392\" height=\"1594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2.jpg 2392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1920x1279.jpg 1920w\" sizes=\"(max-width: 2392px) 100vw, 2392px\">\u003cfigcaption class=\"wp-caption-text\">Dozens of Heklina’s closest friends and collaborators spoke and performed inside the Castro Theatre, including D’Arcy Drollinger, Sister Roma and Peaches Christ (left to right). \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13929617\" class=\"wp-caption aligncenter\" style=\"max-width: 2446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Fauxique-1.jpg\" alt='A large group of drag performers dance and sing on a stage. In the middle of them is a drag queen with a very large wig and a ribbon that reads \"Fauxnique.\"' width=\"2446\" height=\"1631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1.jpg 2446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2446px) 100vw, 2446px\">\u003cfigcaption class=\"wp-caption-text\">During her performance, Fauxnique brought out many other drag performers who collaborated with Heklina. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the memorial, Margey DeCuir, a San Francisco resident who watched the livestream on Castro Street, wrote to KQED to share that for her, Heklina’s memorial not only honored her life, but represented “the strength and loyalty of the queer community, to come and gather in grief.”\u003c/p>\n\u003cp>“Heklina touched lives globally,” she wrote, “and her memorial was a much needed embrace within the community.”\u003c/p>\n\u003cfigure id=\"attachment_13929605\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929605\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023.jpg\" alt=\"Two people share a deep hug and smile while they stand outdoors in San Francisco's Castro Street, surrounded by a large crowd.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Tom hugs friend Margey DeCuir (left) during a memorial for Heklina outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This article includes reporting from KQED’s \u003ca href=\"https://www.kqed.org/author/nvoynovskaya\">Nastia Voynovskaya\u003c/a>.\u003c/em>\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Hundreds spilled out of the sold-out Castro Theatre for a street party in homage to the beloved drag queen.",
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"title": "The Castro Honored Heklina with Drag, Music and Cackles | KQED",
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"headline": "The Castro Honored Heklina with Drag, Music and Cackles",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Heklina first arrived in San Francisco in the early ’90s, “with no real plan,” as she put in a \u003ca href=\"https://www.youtube.com/watch?v=61qbUimYg9g&t=823s\">KQED documentary from 2015\u003c/a>. “Immediately, I fell in love with it, and I felt right at home.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And on Tuesday evening, San Francisco returned that love to Heklina, who helped transform drag and elevate queer nightlife in the Bay Area over the past three decades. Heklina died unexpectedly on April 3 in London, where she had traveled to star in the drag parody \u003ci>Mommie Queerest\u003c/i> at the Soho Theatre alongside her close friend Peaches Christ.\u003c/p>\n\u003cp>Friends of Heklina organized a memorial at the Castro Theatre, its iconic marquee emblazoned with Heklina’s name. Tickets sold out weeks in advance, so organizers closed down the entire block outside the theater, from Market to 18th Street, to bring in jumbotrons that live-streamed the memorial to a crowd of hundreds of well-wishers and admirers.\u003c/p>\n\u003cfigure id=\"attachment_13929606\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929606\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"Two drag artists speak with microphones to a large crowd in front of San Francisco's Castro Theater.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65859_051_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sister Roma (left) and Dulce De Leche (right) speak during a memorial for Heklina outside the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Heklina was not just a talented and versatile performer, she also dedicated herself to making more spaces available for drag in San Francisco. In 1996, she created the long-running show Trannyshack at The Stud (which she later renamed Mother), offering a platform for funny, rebellious and experimental new performers. Heklina also co-founded the popular SoMa club and cabaret Oasis in 2015 alongside D’Arcy Drollinger. Although she sold her ownership stake in 2019, she remained a beloved fixture there. Most recently, she hosted the popular Daytime Realness party at El Rio in the Mission.\u003c/p>\n\u003cfigure id=\"attachment_13929614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"Two drag performers, dressed up in very colorful wigs and puffy dresses, smile at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65812_001_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pippi Lovestocking (left) and Mutha Chucka pose for a photo outside the Castro Theatre in San Francisco on May 23, 2023, before a memorial for Heklina, who died in April. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many remember Heklina for her firecracker personality, which she owned in her drag. “I just feel like I’m living a very, perhaps to most people, abnormal life. I make a living doing something that is … not considered normal,” Heklina said in 2015. “When you’re walking down the street in makeup and a dress and high heels and all that stuff, you do get an attitude change. You become much more bold, [because] people yell things at you and you just have to be ready to take everything on.”\u003c/p>\n\u003cfigure id=\"attachment_13929627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65865_056_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">During a memorial for Heklina, photos of her play onscreen outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the memorial hosted by LOL McFiercen and Dulce De Leche, Heklina’s longtime friend Nancy French took the stage to lead a moment of silence, but quickly changed her mind. “A basic moment of silence is not going to work,” French said. “It’s so basic, she would have hated it.”\u003c/p>\n\u003cp>French asked the crowd to join her in a “community cackle,” referring to Heklina’s loud and distinct laugh. With that, Castro Street filled with hundreds of cackles.\u003c/p>\n\u003cfigure id=\"attachment_13929607\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929607\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A crowd of hundreds, of all ages, stands outside on San Francisco's Castro Street and laughs, many with smiles on their faces. In the background, there are balloons in the shape of the letters that spell out "Heklina."\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65862_054_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Hundreds join Heklina’s friend Nancy French in a ‘community cackle’ outside the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jennifer Hofmann, 53, of San Francisco, stood outside the Castro Theatre to pay her respects for Heklina. “[Heklina] helped me grow up to figure out who I was in San Francisco,” she said, noting how meaningful it was for her to see Heklina perform at Trannyshack in the ’90s.\u003c/p>\n\u003cp>“She made it OK that drag wasn’t perfect. She made it OK that you could make ugly drag and people would love that and throw dollars at you, too,” Hoffman said. “As long as you had something to say and were willing to get up on stage and do it, you were always welcome.”\u003c/p>\n\u003cp>“She welcomed everyone,” Hoffman continued. “She sassed everyone. If you got sassed by Heklina, you felt like you’ve made it.”\u003c/p>\n\u003cfigure id=\"attachment_13929611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A drag performer holds a microphone in one hand, and with the other, holds a marker and draws a beauty mark on the face of a woman standing in the crowd outside the Castro Theater.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65857_049_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Co-host LOL McFiercen paints a beauty mark on Linda Lee’s face in honor of Heklina during a memorial outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darwin Bell, 57, moved to San Francisco in 1987, and Heklina was first drag queen he ever saw perform. “It was very punk rock,” he said of that first show.\u003c/p>\n\u003cp>Heklina embraced more transgressive forms of drag, he recalled, adding that he hopes that San Francisco doesn’t lose that edge without her around. Bell and his friends went to so many shows featuring or organized by Heklina that they would joke among themselves, “At the end of the world, there’s going to be Cher, roaches and Heklina.”\u003c/p>\n\u003cp>“I never even thought there would be world without Heklina,” he said. “She was always kind of bitter and funny and mean, and I just never thought there would be a world without her.”\u003c/p>\n\u003cfigure id=\"attachment_13929613\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929613\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut.jpg\" alt=\"A large crowd stands on Castro Street in front of Castro Theater, and in the middle of the crowed, a young couple hugs and kisses.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/RS65852_042_KQED_HeklinaMemorialCastro_05232023-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Despite the strong winds, a crowd of hundreds gathers outside of the Castro Theatre to watch drag performances in honor of Heklina. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside, the Castro Theatre’s 1,407 seats filled up. Close friends of Heklina, including D’Arcy Drollinger and Peaches Christ, took the stage to share some of their fondest memories — infused with Heklina’s relentless humor and love for San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13929618\" class=\"wp-caption aligncenter\" style=\"max-width: 2392px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2.jpg\" alt=\"Three drag artists stand on a stage. All are wearing very elaborate dresses and big wigs.\" width=\"2392\" height=\"1594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2.jpg 2392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/DArcy-Drollinger-Sister-Roma-and-Peaches-Christ-2-1920x1279.jpg 1920w\" sizes=\"(max-width: 2392px) 100vw, 2392px\">\u003cfigcaption class=\"wp-caption-text\">Dozens of Heklina’s closest friends and collaborators spoke and performed inside the Castro Theatre, including D’Arcy Drollinger, Sister Roma and Peaches Christ (left to right). \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13929617\" class=\"wp-caption aligncenter\" style=\"max-width: 2446px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Fauxique-1.jpg\" alt='A large group of drag performers dance and sing on a stage. In the middle of them is a drag queen with a very large wig and a ribbon that reads \"Fauxnique.\"' width=\"2446\" height=\"1631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1.jpg 2446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Fauxique-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2446px) 100vw, 2446px\">\u003cfigcaption class=\"wp-caption-text\">During her performance, Fauxnique brought out many other drag performers who collaborated with Heklina. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the memorial, Margey DeCuir, a San Francisco resident who watched the livestream on Castro Street, wrote to KQED to share that for her, Heklina’s memorial not only honored her life, but represented “the strength and loyalty of the queer community, to come and gather in grief.”\u003c/p>\n\u003cp>“Heklina touched lives globally,” she wrote, “and her memorial was a much needed embrace within the community.”\u003c/p>\n\u003cfigure id=\"attachment_13929605\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929605\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023.jpg\" alt=\"Two people share a deep hug and smile while they stand outdoors in San Francisco's Castro Street, surrounded by a large crowd.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/024_KQED_HeklinaMemorialCastro_05232023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alexander Tom hugs friend Margey DeCuir (left) during a memorial for Heklina outside of the Castro Theatre in San Francisco on May 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This article includes reporting from KQED’s \u003ca href=\"https://www.kqed.org/author/nvoynovskaya\">Nastia Voynovskaya\u003c/a>.\u003c/em>\u003cbr>\n\u003c/p>\u003c/div>",
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"title": "At the de Young, an Ansel Adams Exhibition Looks Beyond the Iconic",
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"content": "\u003cp>For many people, the images they hold in their minds of Yosemite or other Western U.S. landscapes probably overlap quite a bit with photographs by San Francisco–born photographer Ansel Adams (1902–1984). As one of the most prominent artists in the history of photography, and certainly within landscape photography, Adams’ work has both circulated widely around the world and influenced how generations of photographers have represented land. As an active member of the Sierra Club, Adams and his photography have also been linked closely with environmental and conservationist movements.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.famsf.org/exhibitions/ansel-adams-in-our-time\">Ansel Adams in Our Time\u003c/a>\u003c/i>, a major exhibition at the de Young Museum, takes a look at Adams’ extensive career, but the exhibition also resists canonization or the impulse to depict Adams as a unique genius. In fact, while the exhibition is not overly critical of Adams, it creates the space to examine his art, and its relationship to environmentalism, with nuance and art historical context.\u003c/p>\n\u003cp>[aside postID='arts_11149633']Many of Adams’ most iconic photographs feature soaring towers of rock isolated from their surroundings or expansive landscapes often devoid of human presence — see \u003ci>Moon and Half Dome, Yosemite National Park\u003c/i> (1960) and \u003ci>The Tetons and Snake River, Grand Teton National Park, Wyoming\u003c/i> (1942), respectively. Though these may seem like natural ways of depicting mountains, valleys and rock formations, Adams’ approaches have their own histories.\u003c/p>\n\u003cfigure id=\"attachment_13928866\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SC172059.jpeg\" alt=\"Sepia toned photograph of rushing river between two high mountainous walls\" width=\"2000\" height=\"1539\" class=\"size-full wp-image-13928866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-800x616.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1020x785.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-160x123.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-768x591.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1536x1182.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1920x1477.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Frank Jay Haynes, ‘Grand Canyon of Yellowstone and Falls’, circa 1887. \u003ccite>(Courtesy Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The de Young show includes work by several of Adams’ 19th-century influences: \u003ca href=\"https://en.wikipedia.org/wiki/Carleton_Watkins\">Carleton E. Watkins\u003c/a> (1829–1916), \u003ca href=\"https://en.wikipedia.org/wiki/John_Karl_Hillers\">John K. Hillers\u003c/a> (1843–1925), and \u003ca href=\"https://en.wikipedia.org/wiki/Frank_Jay_Haynes\">Frank Jay Haynes\u003c/a> (1853–1921), among others. These three artists share a common history of making photographs for colonial or industrial projects. Their clients included the US Geological Survey, the California Geological Survey (CGS), mining companies and railroad operators. \u003c/p>\n\u003cp>As a result, their photographic projects had a special interest in representing the lands of the Western U.S. as emptied of people and full of natural resources. We can see similarities to Adams in Haynes’ \u003ci>Grand Canyon of Yellowstone Falls\u003c/i> (c. 1887) and Watkins’ \u003ci>Mount Starr King and Glacier Point, Yosemite, No. 69\u003c/i> (1865-1866), which was made while working for the CGS.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What does it mean to borrow a form of representation that itself is steeped in the history of manifest destiny, conquest and extraction? Adams’ photographs can be seen as celebrations of and warnings against what might be lost due to human activities. But what we don’t see in Adams’ most famous photographs are the causes and culprits of these activities — or the people who live or once lived in these places.\u003c/p>\n\u003cfigure id=\"attachment_13928956\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13928956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Ansel Adams in Our Time,’ at the de Young with color photographs by Abelardo Morell. \u003ccite>(Photo by Gary Sexton; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This becomes clear in \u003ci>Ansel Adams in Our Time\u003c/i> with the inclusion of nearly two dozen contemporary photographers who have been influenced by Adams but also push landscape photography in different directions. \u003ca href=\"https://galleryluisotti.com/artists/mark-ruwedel/images/\">Mark Ruwedel\u003c/a>’s \u003ci>Westward the Course of Empire\u003c/i> series (1994–2006), for example, borrows a visual language from Adams and 19th-century surveyors, documenting rural landscapes devoid of people and bisected by deep chasms. However, these chasms represent land that was carved up and blown up for now-abandoned railroads across the Western U.S. \u003c/p>\n\u003cp>Ruwedel reminds us that survey photography saw land not for its inherent value but for its potential use, and in his work we see one of those uses. The series title recalls several similarly named 19th-century paintings that championed manifest destiny, often with railroads serving as symbols of progress and civilization.\u003c/p>\n\u003cp>\u003ca href=\"https://www.bryanschutmaat.co/\">Bryan Schutmaat\u003c/a> explores the legacy of manifest destiny through the contemporary lives and landscapes of former mining communities. In one photograph, we see the outskirts of Tonopah, Nevada, with debris, a rusted car, ramshackle buildings and scattered trailers occupying the foreground, with the historic Mizpah Hotel and nearby mountains looming in the background.\u003c/p>\n\u003cp>With subjects ranging from suburban sprawl to industrial development, \u003ca href=\"https://mitchepstein.net/\">Mitch Epstein\u003c/a> and \u003ca href=\"https://www.victoriasambunaris.com/\">Victoria Sambunaris\u003c/a> similarly turn their cameras to the human imprint made on the landscape. Adams, too, explored this in lesser-known photographs on view, such as one showing a housing development zig-zagging up San Bruno Mountain in San Mateo County.\u003c/p>\n\u003cfigure id=\"attachment_13928867\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/WatkinsOpie-scaled.jpg\" alt=\"Composite images of two vertical of Yosemite, left in focus, right out of focus\" width=\"2560\" height=\"1705\" class=\"size-full wp-image-13928867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Carleton E. Watkins, ‘Mount Starr King and Glacier Point, Yosemite, No. 69,’ 1865–66; Catherine Opie, ‘Untitled #1 (Yosemite Valley), 2015. \u003ccite>(Both images courtesy Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://art21.org/artist/catherine-opie/\">Catherine Opie\u003c/a> takes an entirely different approach in her photographs of Yosemite by embracing the park’s iconic status while trying to reimagine the dominant landscape iconography. “With Watkins and Adams,” she has said, “there’s no doubt what you’re looking at.” But in her ethereal and abstracted photographs of Yosemite, clarity is elusive. One is meant to question what they are looking at. \u003c/p>\n\u003cp>For Opie, these photographs offer a feminist perspective on the landscape; they are reminders that, from Adams to Opie, all representations of land are shaped by tradition, values, ideology, and aesthetics. This nuance can be lost while viewing a single, well-known photograph, but it’s brought to the foreground while looking at the true expanse of Adams’ work — and the artists with whom he shares a place in the history of photography.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Ansel Adams in Our Time’ is on view at the de Young Museum in San Francisco through Aug. 6, 2023. \u003ca href=\"https://www.famsf.org/exhibitions/ansel-adams-in-our-time\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Many of Adams’ most iconic photographs feature soaring towers of rock isolated from their surroundings or expansive landscapes often devoid of human presence — see \u003ci>Moon and Half Dome, Yosemite National Park\u003c/i> (1960) and \u003ci>The Tetons and Snake River, Grand Teton National Park, Wyoming\u003c/i> (1942), respectively. Though these may seem like natural ways of depicting mountains, valleys and rock formations, Adams’ approaches have their own histories.\u003c/p>\n\u003cfigure id=\"attachment_13928866\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SC172059.jpeg\" alt=\"Sepia toned photograph of rushing river between two high mountainous walls\" width=\"2000\" height=\"1539\" class=\"size-full wp-image-13928866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-800x616.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1020x785.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-160x123.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-768x591.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1536x1182.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SC172059-1920x1477.jpeg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Frank Jay Haynes, ‘Grand Canyon of Yellowstone and Falls’, circa 1887. \u003ccite>(Courtesy Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The de Young show includes work by several of Adams’ 19th-century influences: \u003ca href=\"https://en.wikipedia.org/wiki/Carleton_Watkins\">Carleton E. Watkins\u003c/a> (1829–1916), \u003ca href=\"https://en.wikipedia.org/wiki/John_Karl_Hillers\">John K. Hillers\u003c/a> (1843–1925), and \u003ca href=\"https://en.wikipedia.org/wiki/Frank_Jay_Haynes\">Frank Jay Haynes\u003c/a> (1853–1921), among others. These three artists share a common history of making photographs for colonial or industrial projects. Their clients included the US Geological Survey, the California Geological Survey (CGS), mining companies and railroad operators. \u003c/p>\n\u003cp>As a result, their photographic projects had a special interest in representing the lands of the Western U.S. as emptied of people and full of natural resources. We can see similarities to Adams in Haynes’ \u003ci>Grand Canyon of Yellowstone Falls\u003c/i> (c. 1887) and Watkins’ \u003ci>Mount Starr King and Glacier Point, Yosemite, No. 69\u003c/i> (1865-1866), which was made while working for the CGS.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What does it mean to borrow a form of representation that itself is steeped in the history of manifest destiny, conquest and extraction? Adams’ photographs can be seen as celebrations of and warnings against what might be lost due to human activities. But what we don’t see in Adams’ most famous photographs are the causes and culprits of these activities — or the people who live or once lived in these places.\u003c/p>\n\u003cfigure id=\"attachment_13928956\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13928956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/0075_AnselAdams_GarySexton_4.5.23_1920-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Ansel Adams in Our Time,’ at the de Young with color photographs by Abelardo Morell. \u003ccite>(Photo by Gary Sexton; Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This becomes clear in \u003ci>Ansel Adams in Our Time\u003c/i> with the inclusion of nearly two dozen contemporary photographers who have been influenced by Adams but also push landscape photography in different directions. \u003ca href=\"https://galleryluisotti.com/artists/mark-ruwedel/images/\">Mark Ruwedel\u003c/a>’s \u003ci>Westward the Course of Empire\u003c/i> series (1994–2006), for example, borrows a visual language from Adams and 19th-century surveyors, documenting rural landscapes devoid of people and bisected by deep chasms. However, these chasms represent land that was carved up and blown up for now-abandoned railroads across the Western U.S. \u003c/p>\n\u003cp>Ruwedel reminds us that survey photography saw land not for its inherent value but for its potential use, and in his work we see one of those uses. The series title recalls several similarly named 19th-century paintings that championed manifest destiny, often with railroads serving as symbols of progress and civilization.\u003c/p>\n\u003cp>\u003ca href=\"https://www.bryanschutmaat.co/\">Bryan Schutmaat\u003c/a> explores the legacy of manifest destiny through the contemporary lives and landscapes of former mining communities. In one photograph, we see the outskirts of Tonopah, Nevada, with debris, a rusted car, ramshackle buildings and scattered trailers occupying the foreground, with the historic Mizpah Hotel and nearby mountains looming in the background.\u003c/p>\n\u003cp>With subjects ranging from suburban sprawl to industrial development, \u003ca href=\"https://mitchepstein.net/\">Mitch Epstein\u003c/a> and \u003ca href=\"https://www.victoriasambunaris.com/\">Victoria Sambunaris\u003c/a> similarly turn their cameras to the human imprint made on the landscape. Adams, too, explored this in lesser-known photographs on view, such as one showing a housing development zig-zagging up San Bruno Mountain in San Mateo County.\u003c/p>\n\u003cfigure id=\"attachment_13928867\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/WatkinsOpie-scaled.jpg\" alt=\"Composite images of two vertical of Yosemite, left in focus, right out of focus\" width=\"2560\" height=\"1705\" class=\"size-full wp-image-13928867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/WatkinsOpie-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Carleton E. Watkins, ‘Mount Starr King and Glacier Point, Yosemite, No. 69,’ 1865–66; Catherine Opie, ‘Untitled #1 (Yosemite Valley), 2015. \u003ccite>(Both images courtesy Museum of Fine Arts, Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://art21.org/artist/catherine-opie/\">Catherine Opie\u003c/a> takes an entirely different approach in her photographs of Yosemite by embracing the park’s iconic status while trying to reimagine the dominant landscape iconography. “With Watkins and Adams,” she has said, “there’s no doubt what you’re looking at.” But in her ethereal and abstracted photographs of Yosemite, clarity is elusive. One is meant to question what they are looking at. \u003c/p>\n\u003cp>For Opie, these photographs offer a feminist perspective on the landscape; they are reminders that, from Adams to Opie, all representations of land are shaped by tradition, values, ideology, and aesthetics. This nuance can be lost while viewing a single, well-known photograph, but it’s brought to the foreground while looking at the true expanse of Adams’ work — and the artists with whom he shares a place in the history of photography.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Ansel Adams in Our Time’ is on view at the de Young Museum in San Francisco through Aug. 6, 2023. \u003ca href=\"https://www.famsf.org/exhibitions/ansel-adams-in-our-time\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pen's Pals: A Journey to Heal in Mexico City",
"headTitle": "Pen’s Pals: A Journey to Heal in Mexico City | KQED",
"content": "\u003cp>Richmond-raised photographer \u003ca href=\"https://www.instagram.com/chris_nec/\">\u003cb>Christopher Nechodom\u003c/b>\u003c/a> retraced his family’s roots to a small town in Mexico. In doing so, he left behind the pricey Bay Area — a place that he loves dearly but was costing him more than money; peace of mind was at stake.\u003c/p>\n\u003cp>After experiencing a series of traumatic events: a victim of armed robbery as a kid, losing a close friend to homicide as a young adult, and then narrowly escaping the tragic Ghost Ship Fire that took the lives of 36 people in 2016, Nechodom says he’s now on the path toward healing. “I think the fire just opened the floodgates,” Nechodom tells me. “And it also forced me to finally get in touch with my own vulnerability and really address that trauma.”\u003c/p>\n\u003cfigure id=\"attachment_13927462\" class=\"wp-caption aligncenter\" style=\"max-width: 533px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC_9160-Edit.jpg\" alt=\"Christopher Nechodom poses for a photo while wearing a beanie hat on his head, and a mid-90s Warriors jersey under a jean jacket.\" width=\"533\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC_9160-Edit.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC_9160-Edit-160x240.jpg 160w\" sizes=\"(max-width: 533px) 100vw, 533px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nechodom poses for a photo while wearing a beanie hat on his head, and a mid-90s Warriors jersey under a jean jacket. \u003ccite>(KOLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now a resident of Mexico City, Nechodom spends his time between the capital city and the state of Michoacán, where his mother’s side of the family is from. The time spent in the state where he has roots allows for reflection and connection, while in Mexico City he has access to business opportunities and artist circles.\u003c/p>\n\u003cp>The downside to what he’s seeing in Mexico City? Post-pandemic regulations in the U.S. have allowed for more people to work remotely, and a large number of people are choosing to work from Mexico. This adds to the already altered face of Mexico City, but now Nechodom is seeing rapid changes that are reflective of the same gentrification he saw in San Francisco.\u003c/p>\n\u003cp>When we talk, he tells me that part of his work is to inform people on how to immigrate to Mexico in a socially responsible manner. This is in addition to working on his personal growth and healing, and his photography portfolio.\u003c/p>\n\u003cp>This is the first episode in the Pen’s Pals series, for more info on this project click \u003ca href=\"https://www.kqed.org/arts/13927453/rightnowish-presents-pens-pals\">here\u003c/a>.\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=KQINC2927444428&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"http://bit.ly/3KYk1Vi\">Read the transcript\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Christopher Nechodom.\u003c/strong>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\"> I’ve seen you in many iterations. I’ve seen you do photo exhibitions in downtown Oakland. I’ve seen you in Brooklyn. But now, where are you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>NECHODOM:\u003c/b>\u003cspan style=\"font-weight: 400\"> So now I’m in Mexico City. I finally decided to move down here to Mexico. And being a dual citizen, knowing the language, I just really felt like I was returning to the motherland. Within Mexico City, I live in a small colonia called San Miguel Chapultepec, which is a very residential area. But I have my apartment and my studio here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\"> What about your day to day, what does it look like to you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>NECHODOM: \u003c/b>\u003cspan style=\"font-weight: 400\">Most of my days I come here to the studio, which triples as my office, darkroom and workspace, because I’m just not a work from home kind of guy. So I’m here at the studio, and then I head back home later. Me and my partner, we cook a lot, so we’re just at the house. We’re pretty low key these days. I think the pandemic definitely shifted that. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I first got here five years ago, I was definitely much more out and about, you know, networking a lot more at all the art events and all that and I still make time for that but I’m definitely transitioning to an era of my life where I’m much more self-centered, but rightfully so. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW:\u003c/b>\u003cspan style=\"font-weight: 400\"> You mentioned to me before that there’s \u003c/span>\u003cspan style=\"font-weight: 400\">a\u003c/span>\u003cspan style=\"font-weight: 400\"> whole communities of expats. Have you noticed any signs or menus in English or things that cater to folks from the United States? \u003c/span>\u003c/p>\n\u003cp>\u003cb>NECHODOM:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’ve met people that have lived here multiple years and still only have a very basic understanding of Spanish because they can get by without it. And this is honestly out of every other country I’ve been to, I’ve never seen so much English being spoken, just in general. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s one thing if you’re a tourist and you got a little book and you just learn how to say bathroom and like, excuse me. Okay, you’re just trying to get by. But if you want to live here, if you want to dwell and integrate and interact with actual local Mexicans, you need to learn Spanish. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you miss home? \u003c/span>\u003c/p>\n\u003cp>\u003cb>NECHODOM:\u003c/b>\u003cspan style=\"font-weight: 400\"> I miss two things about home. I miss the access to nature and I miss my people, my friends and my family. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">If there was one thing you’d write home about, from your time in Mexico, what would it be\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>NECHODOM:\u003c/b>\u003cspan style=\"font-weight: 400\"> When you say write home about, I’m thinking about what would I write my mom like writing a letter to my mom, like how it’s been for me. I think she would be really proud of me just telling her that this place has definitely helped me heal, has inspired me creatively.\u003c/span>\u003cspan style=\"font-weight: 400\"> She was definitely a little bit sad to see me go far away again, especially after being in New York for four years. Me leaving again was hard on my mom at first. \u003c/span>\u003cspan style=\"font-weight: 400\">But I remember when I was doing it, I was like ‘Mom, I need to do this. I need to do this for myself,’ and I’m really glad I made that decision as hard as it was. \u003c/span>\u003cspan style=\"font-weight: 400\">Now moving here, I’ve created a whole community here and we just gotta keep it going. \u003c/span>\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>Richmond-raised photographer \u003ca href=\"https://www.instagram.com/chris_nec/\">\u003cb>Christopher Nechodom\u003c/b>\u003c/a> retraced his family’s roots to a small town in Mexico. In doing so, he left behind the pricey Bay Area — a place that he loves dearly but was costing him more than money; peace of mind was at stake.\u003c/p>\n\u003cp>After experiencing a series of traumatic events: a victim of armed robbery as a kid, losing a close friend to homicide as a young adult, and then narrowly escaping the tragic Ghost Ship Fire that took the lives of 36 people in 2016, Nechodom says he’s now on the path toward healing. “I think the fire just opened the floodgates,” Nechodom tells me. “And it also forced me to finally get in touch with my own vulnerability and really address that trauma.”\u003c/p>\n\u003cfigure id=\"attachment_13927462\" class=\"wp-caption aligncenter\" style=\"max-width: 533px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC_9160-Edit.jpg\" alt=\"Christopher Nechodom poses for a photo while wearing a beanie hat on his head, and a mid-90s Warriors jersey under a jean jacket.\" width=\"533\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC_9160-Edit.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC_9160-Edit-160x240.jpg 160w\" sizes=\"(max-width: 533px) 100vw, 533px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nechodom poses for a photo while wearing a beanie hat on his head, and a mid-90s Warriors jersey under a jean jacket. \u003ccite>(KOLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now a resident of Mexico City, Nechodom spends his time between the capital city and the state of Michoacán, where his mother’s side of the family is from. The time spent in the state where he has roots allows for reflection and connection, while in Mexico City he has access to business opportunities and artist circles.\u003c/p>\n\u003cp>The downside to what he’s seeing in Mexico City? Post-pandemic regulations in the U.S. have allowed for more people to work remotely, and a large number of people are choosing to work from Mexico. This adds to the already altered face of Mexico City, but now Nechodom is seeing rapid changes that are reflective of the same gentrification he saw in San Francisco.\u003c/p>\n\u003cp>When we talk, he tells me that part of his work is to inform people on how to immigrate to Mexico in a socially responsible manner. This is in addition to working on his personal growth and healing, and his photography portfolio.\u003c/p>\n\u003cp>This is the first episode in the Pen’s Pals series, for more info on this project click \u003ca href=\"https://www.kqed.org/arts/13927453/rightnowish-presents-pens-pals\">here\u003c/a>.\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=KQINC2927444428&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"http://bit.ly/3KYk1Vi\">Read the transcript\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Christopher Nechodom.\u003c/strong>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\"> I’ve seen you in many iterations. I’ve seen you do photo exhibitions in downtown Oakland. I’ve seen you in Brooklyn. But now, where are you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>NECHODOM:\u003c/b>\u003cspan style=\"font-weight: 400\"> So now I’m in Mexico City. I finally decided to move down here to Mexico. And being a dual citizen, knowing the language, I just really felt like I was returning to the motherland. Within Mexico City, I live in a small colonia called San Miguel Chapultepec, which is a very residential area. But I have my apartment and my studio here. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\"> What about your day to day, what does it look like to you? \u003c/span>\u003c/p>\n\u003cp>\u003cb>NECHODOM: \u003c/b>\u003cspan style=\"font-weight: 400\">Most of my days I come here to the studio, which triples as my office, darkroom and workspace, because I’m just not a work from home kind of guy. So I’m here at the studio, and then I head back home later. Me and my partner, we cook a lot, so we’re just at the house. We’re pretty low key these days. I think the pandemic definitely shifted that. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I first got here five years ago, I was definitely much more out and about, you know, networking a lot more at all the art events and all that and I still make time for that but I’m definitely transitioning to an era of my life where I’m much more self-centered, but rightfully so. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW:\u003c/b>\u003cspan style=\"font-weight: 400\"> You mentioned to me before that there’s \u003c/span>\u003cspan style=\"font-weight: 400\">a\u003c/span>\u003cspan style=\"font-weight: 400\"> whole communities of expats. Have you noticed any signs or menus in English or things that cater to folks from the United States? \u003c/span>\u003c/p>\n\u003cp>\u003cb>NECHODOM:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’ve met people that have lived here multiple years and still only have a very basic understanding of Spanish because they can get by without it. And this is honestly out of every other country I’ve been to, I’ve never seen so much English being spoken, just in general. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s one thing if you’re a tourist and you got a little book and you just learn how to say bathroom and like, excuse me. Okay, you’re just trying to get by. But if you want to live here, if you want to dwell and integrate and interact with actual local Mexicans, you need to learn Spanish. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">Do you miss home? \u003c/span>\u003c/p>\n\u003cp>\u003cb>NECHODOM:\u003c/b>\u003cspan style=\"font-weight: 400\"> I miss two things about home. I miss the access to nature and I miss my people, my friends and my family. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">If there was one thing you’d write home about, from your time in Mexico, what would it be\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">? \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>NECHODOM:\u003c/b>\u003cspan style=\"font-weight: 400\"> When you say write home about, I’m thinking about what would I write my mom like writing a letter to my mom, like how it’s been for me. I think she would be really proud of me just telling her that this place has definitely helped me heal, has inspired me creatively.\u003c/span>\u003cspan style=\"font-weight: 400\"> She was definitely a little bit sad to see me go far away again, especially after being in New York for four years. Me leaving again was hard on my mom at first. \u003c/span>\u003cspan style=\"font-weight: 400\">But I remember when I was doing it, I was like ‘Mom, I need to do this. I need to do this for myself,’ and I’m really glad I made that decision as hard as it was. \u003c/span>\u003cspan style=\"font-weight: 400\">Now moving here, I’ve created a whole community here and we just gotta keep it going. \u003c/span>\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": "Two SFPL Shows Look for Humanity in City Mugshots and Official IDs",
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"content": "\u003cp>On the sixth floor of San Francisco’s main public library, there are two large antique cabinets currently serving as holding cells. Inside them are century-old mugshots from the city’s past. The cabinets are split by gender, like jails — six men in one, six women in the other. The subjects’ faces are depicted face-forward and in profile, as the cops would have directed. But these are no ordinary mugshots.\u003c/p>\n\u003cp>Their faces are alive with expression and color, painted out of their respective black-and-white corners from history and back into vibrant existence.\u003c/p>\n\u003cp>These oil paintings are the work of \u003ca href=\"http://penelopehouston.com/\">Penelope Houston\u003c/a>, one-time vocalist for the legendary San Francisco punk band \u003ca href=\"https://www.youtube.com/watch?v=zUmBCPbCNdg\">The Avengers\u003c/a> and current-day artist and \u003ca href=\"https://www.youtube.com/watch?v=oh2CRYn2qSQ\">solo singer-songwriter\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13926416\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926416\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/William700_comp.jpg\" alt=\"Two paintings of mugshots of The bottom row shows a Black man with chiseled features looking defiant\" width=\"1440\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-800x389.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-1020x496.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-768x373.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Penelope Houston’s painting of William Williams, arrested in 1919. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Houston’s paintings of alleged criminals from San Francisco history bring humanity back to the individuals who were photographed in the middle of what was probably a thoroughly dehumanizing experience. Houston effectively relays their expressions, which vacillate between resigned indifference and barely contained contempt. One man arrested on charges related to homosexuality, William Williams, holds his head high and unrepentant. He was photographed in 1919.\u003c/p>\n\u003cp>Houston’s series, titled \u003cem>The Accused\u003c/em>, is on display as part of \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2023/03/11/artists-archive\">Artists in the Archive\u003c/a>\u003c/em>, a two-person show with \u003ca href=\"https://www.xandraibarra.com/about/\">Xandra Ibarra\u003c/a>, whose work transforms SFPD mugshots into large-scale photo collages. Ibarra’s images, the result of a \u003ca href=\"https://www.sfartscommission.org/content/artist-residence-program\">San Francisco Arts Commission residency\u003c/a> at the SFPL, invite the viewer to focus particularly on the eyes of the accused. In one piece, \u003cem>Keeping a Disorderly House of Prostitution\u003c/em>, a plump white woman with rail-thin eyebrows wears a hardened expression — but her eyes look close to tears.\u003c/p>\n\u003cfigure id=\"attachment_13926423\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution.jpg\" alt=\"Mugshot of woman on cream paper with information on her arrest\" width=\"2000\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1020x408.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1536x614.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1920x768.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, ‘Keeping a Disorderly House of Prostitution.’ \u003ccite>(Courtesy of SFPL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Accompanying Houston and Ibarra’s work is a video screen showing page after page of mugshots taken between December 1918 and June 1919, as well as a seven-month period of 1938. The scans are from the SFPD Records held at the San Francisco History Center, also \u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A204847?solr_nav%5Bid%5D=6cdfe4bd235a376eb26e&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=1#page/4/mode/2up\">available online\u003c/a>. The men featured are accused of a variety of sex crimes, including pimping. The women are all accused of sex work. The faces of the more mature women speak volumes about the toughness of their alleged profession.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In tandem with the \u003cem>Artists in the Archive\u003c/em> show is \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2023/03/11/san-francisco-identities\">San Francisco IDentities\u003c/a>\u003c/em>, also on display on the library’s sixth floor. This exhibit is a mishmash of identification documents from the History Center’s collections that are mostly interesting in their own right but don’t always make a lot of sense together.\u003c/p>\n\u003cp>There are joyous little nuggets from the city’s past, like ticket books for 1915’s Panama-Pacific International Exposition, complete with the photo IDs of official vendors. There are fascinating mugshot books and headshots of enlisted men serving in World War II. There is even, shamefully, the paperwork of German citizens residing in California who were forced to register as “Alien Enemies” in 1917.\u003c/p>\n\u003cfigure id=\"attachment_13926427\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/sfid-title-collage-220316.jpg\" alt=\"Various forms of identification overlaid\" width=\"1500\" height=\"973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-768x498.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Materials included in the ‘San Francisco IDentities’ exhibition. \u003ccite>(Courtesy of SFPL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are less compelling artifacts on display too. Random drivers’ licenses, school photos, festival laminate passes that are less than 20 years old, and a head-scratching collection of passports. (Even as a fan of \u003ca href=\"https://en.wikipedia.org/wiki/Gay_American_Indians\">Gay American Indians\u003c/a> founder \u003ca href=\"https://www.kqed.org/arts/13889944/the-indigenous-activist-who-demanded-inclusion-for-all-lgbtq-people\">Barbara May Cameron\u003c/a>, I remain perplexed about how to receive seeing a copy of her passport.)\u003c/p>\n\u003cp>Had \u003cem>San Francisco IDentities\u003c/em> stuck solely to issues relating to criminal justice — as \u003cem>Artists in the Archive\u003c/em> does — a more cohesive pairing would have resulted. Still, there is much to enjoy in these companion exhibits and a mountain of food for thought. In particular, years from now, how would you best like to be remembered? For anyone who has ever been accused of a crime, you might not have much say in the matter.\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>‘Artists in the Archive’ and ‘San Francisco IDentities’ are on display outside the San Francisco History Center, on the sixth floor of the San Francisco Public Library (100 Larkin St.), through June 8, 2023. \u003ca href=\"https://sfpl.org/exhibits/2023/03/11/artists-archive\">Details here\u003c/a>. Houston and Ibarra will be discussing their work there on Saturday, March 18 at 1 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the sixth floor of San Francisco’s main public library, there are two large antique cabinets currently serving as holding cells. Inside them are century-old mugshots from the city’s past. The cabinets are split by gender, like jails — six men in one, six women in the other. The subjects’ faces are depicted face-forward and in profile, as the cops would have directed. But these are no ordinary mugshots.\u003c/p>\n\u003cp>Their faces are alive with expression and color, painted out of their respective black-and-white corners from history and back into vibrant existence.\u003c/p>\n\u003cp>These oil paintings are the work of \u003ca href=\"http://penelopehouston.com/\">Penelope Houston\u003c/a>, one-time vocalist for the legendary San Francisco punk band \u003ca href=\"https://www.youtube.com/watch?v=zUmBCPbCNdg\">The Avengers\u003c/a> and current-day artist and \u003ca href=\"https://www.youtube.com/watch?v=oh2CRYn2qSQ\">solo singer-songwriter\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13926416\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926416\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/William700_comp.jpg\" alt=\"Two paintings of mugshots of The bottom row shows a Black man with chiseled features looking defiant\" width=\"1440\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-800x389.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-1020x496.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/William700_comp-768x373.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Penelope Houston’s painting of William Williams, arrested in 1919. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Houston’s paintings of alleged criminals from San Francisco history bring humanity back to the individuals who were photographed in the middle of what was probably a thoroughly dehumanizing experience. Houston effectively relays their expressions, which vacillate between resigned indifference and barely contained contempt. One man arrested on charges related to homosexuality, William Williams, holds his head high and unrepentant. He was photographed in 1919.\u003c/p>\n\u003cp>Houston’s series, titled \u003cem>The Accused\u003c/em>, is on display as part of \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2023/03/11/artists-archive\">Artists in the Archive\u003c/a>\u003c/em>, a two-person show with \u003ca href=\"https://www.xandraibarra.com/about/\">Xandra Ibarra\u003c/a>, whose work transforms SFPD mugshots into large-scale photo collages. Ibarra’s images, the result of a \u003ca href=\"https://www.sfartscommission.org/content/artist-residence-program\">San Francisco Arts Commission residency\u003c/a> at the SFPL, invite the viewer to focus particularly on the eyes of the accused. In one piece, \u003cem>Keeping a Disorderly House of Prostitution\u003c/em>, a plump white woman with rail-thin eyebrows wears a hardened expression — but her eyes look close to tears.\u003c/p>\n\u003cfigure id=\"attachment_13926423\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution.jpg\" alt=\"Mugshot of woman on cream paper with information on her arrest\" width=\"2000\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1020x408.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1536x614.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Xandra-Ibarra-Keeping-a-Disorderly-House-of-Prostitution-1920x768.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Xandra Ibarra, ‘Keeping a Disorderly House of Prostitution.’ \u003ccite>(Courtesy of SFPL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Accompanying Houston and Ibarra’s work is a video screen showing page after page of mugshots taken between December 1918 and June 1919, as well as a seven-month period of 1938. The scans are from the SFPD Records held at the San Francisco History Center, also \u003ca href=\"https://digitalsf.org/islandora/object/islandora%3A204847?solr_nav%5Bid%5D=6cdfe4bd235a376eb26e&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=1#page/4/mode/2up\">available online\u003c/a>. The men featured are accused of a variety of sex crimes, including pimping. The women are all accused of sex work. The faces of the more mature women speak volumes about the toughness of their alleged profession.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In tandem with the \u003cem>Artists in the Archive\u003c/em> show is \u003cem>\u003ca href=\"https://sfpl.org/exhibits/2023/03/11/san-francisco-identities\">San Francisco IDentities\u003c/a>\u003c/em>, also on display on the library’s sixth floor. This exhibit is a mishmash of identification documents from the History Center’s collections that are mostly interesting in their own right but don’t always make a lot of sense together.\u003c/p>\n\u003cp>There are joyous little nuggets from the city’s past, like ticket books for 1915’s Panama-Pacific International Exposition, complete with the photo IDs of official vendors. There are fascinating mugshot books and headshots of enlisted men serving in World War II. There is even, shamefully, the paperwork of German citizens residing in California who were forced to register as “Alien Enemies” in 1917.\u003c/p>\n\u003cfigure id=\"attachment_13926427\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/sfid-title-collage-220316.jpg\" alt=\"Various forms of identification overlaid\" width=\"1500\" height=\"973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sfid-title-collage-220316-768x498.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Materials included in the ‘San Francisco IDentities’ exhibition. \u003ccite>(Courtesy of SFPL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are less compelling artifacts on display too. Random drivers’ licenses, school photos, festival laminate passes that are less than 20 years old, and a head-scratching collection of passports. (Even as a fan of \u003ca href=\"https://en.wikipedia.org/wiki/Gay_American_Indians\">Gay American Indians\u003c/a> founder \u003ca href=\"https://www.kqed.org/arts/13889944/the-indigenous-activist-who-demanded-inclusion-for-all-lgbtq-people\">Barbara May Cameron\u003c/a>, I remain perplexed about how to receive seeing a copy of her passport.)\u003c/p>\n\u003cp>Had \u003cem>San Francisco IDentities\u003c/em> stuck solely to issues relating to criminal justice — as \u003cem>Artists in the Archive\u003c/em> does — a more cohesive pairing would have resulted. Still, there is much to enjoy in these companion exhibits and a mountain of food for thought. In particular, years from now, how would you best like to be remembered? For anyone who has ever been accused of a crime, you might not have much say in the matter.\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>‘Artists in the Archive’ and ‘San Francisco IDentities’ are on display outside the San Francisco History Center, on the sixth floor of the San Francisco Public Library (100 Larkin St.), through June 8, 2023. \u003ca href=\"https://sfpl.org/exhibits/2023/03/11/artists-archive\">Details here\u003c/a>. Houston and Ibarra will be discussing their work there on Saturday, March 18 at 1 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Herb Greene’s Photography Offers Much More Than Music Icons",
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"content": "\u003cp>I couldn’t give a tiny rat’s ass about the Grateful Dead. There. I said it. Ordinarily, I’d shy away from announcing such a thing publicly, at the risk of awakening an army of pitchfork-wielding Deadheads. (Not the most measured of fanbases.) However, it would be wrong not to mention it before I start talking about a new exhibit of photography by Herb Greene given that Herb Greene is primarily remembered for his Grateful Dead portraits.\u003c/p>\n\u003cp>If you are indeed a Deadhead, or someone who is still reveling in a musical moment that existed over half a century ago, you don’t need me to explain the selling points of \u003cem>The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene\u003c/em>. You will go for the perfectly lovely photographs of the Grateful Dead, their former outfit The Warlocks and Janis Joplin. You might also go for the expertly composed portraits of Jefferson Airplane, Led Zeppelin, The Jeff Beck Group and The Charlatans.\u003c/p>\n\u003cfigure id=\"attachment_13925411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg\" alt=\"A pretty young woman kneels on a green and purple couch, twisting her head up towards the camera.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grace Slick in her Jefferson Airplane heyday. \u003ccite>(Herb Greene/ Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you are under the age of 60 or wondering why on God’s green earth San Francisco needs \u003ca href=\"https://www.kqed.org/arts/13039627/de-young-summer-of-love-50th-anniversary\">yet another exhibition glorifying the Summer of Love\u003c/a>, I have some news that might pleasantly surprise you.\u003c/p>\n\u003cp>[aside postid='arts_13039627']First and foremost, in addition to his rock photography, Greene also made a habit of immortalizing the street life in the Haight when it was just another San Francisco neighborhood. He photographed the small businesses, local children, families and elderly residents already there when the hippie invasion first began.\u003c/p>\n\u003cp>These images present the neighborhood before it was a tie-dye-soaked tourist attraction and, crucially, capture the exact moment the first wave of disaffected youth arrived and changed the area forever. Though there is an entire wall of this kind of street photography at \u003cem>The Photography of Herb Greene\u003c/em>, I found myself wishing they inhabited the whole space.\u003c/p>\n\u003cfigure id=\"attachment_13925638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg\" alt=\"A flute-playing hippie and a bohemian friend, both male, walk along a tree lined street. Behind them a man in a suit and hat walks under a sign that reads 'Sher Real Estate INCOME TAX.’\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-160x162.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-768x775.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Income tax with a side of street flautist. Haight Street in the ’60s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This exhibit also deserves kudos for painting a picture of the bohemian community of kids who were hanging around the Haight at the time. Yes, there are the requisite shots here of naked young people dancing and children clutching flowers at The Human Be-In. But Greene’s photographs also introduce us to the hitchhikers, street musicians and young optimists who migrated to San Francisco in the late 1960s and reveled in the new freedoms it offered. I am indefatigable when it comes to looking at subculture-immersed young people, no matter what era they’re from, and Greene’s photos more than do the Summer of Love kids justice.\u003c/p>\n\u003cfigure id=\"attachment_13925639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925639\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/82548-4-800x822.jpeg\" alt=\"Three teenagers, two females wearing embroidered shawls and long dresses and one young man wearing slacks and a jacket stand on a street corner huddled together. The word ASHBURY is carved into the sidewalk.\" width=\"800\" height=\"822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-800x822.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-768x789.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4.jpeg 961w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three teens hanging in the Haight, 1960s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Greene’s favorite places to photograph these young people was in front of the distinctive hieroglyph-covered wall in his studio, where he also shot famous musicians. \u003cem>The Photography of Herb Greene\u003c/em> condenses many of these portraits down onto a single collage board of images. The format hammers home that the hieroglyph wall itself was a great leveler. Famous or not, Greene treated all of his subjects the same in front of it — they became individual characters, each as important as the last.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13920973']Viewed as a collection now, it also reflects the monoculture of that scene. Though Greene himself was Chicano, every single person featured in the wall collage appears to be white.\u003c/p>\n\u003cp>That lack of diversity runs through much of Greene’s 1960s photography, a reflection of the Bay Area rock ’n’ roll scene of the time. (A portrait of Taj Mahal and his dog offers a particularly beautiful exception.) As such, Greene’s 1970s-era portraits of Sly and the Family Stone and the Pointer Sisters reflect how the mainstream music world began to open up once the Summer of Love ended. These images, shot in color, inject some vibrancy into \u003cem>The Photography of Herb Greene\u003c/em>. The original photo that Sly Stone used for the cover of 1975’s \u003ca href=\"https://www.discogs.com/release/1071382-Sly-Stone-High-On-You\" target=\"_blank\" rel=\"noopener\">\u003cem>High on You\u003c/em>\u003c/a> is a genuine joy to behold in real life.\u003c/p>\n\u003cfigure id=\"attachment_13925643\" class=\"wp-caption aligncenter\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Taj-Majal.jpg\" alt=\"A Black man with cornrows sits in a wooden chair wearing a tie-dye shirt and slacks. He is leaning forward as if in conversation. At his side is a shaggy white dog.\" width=\"496\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal-160x159.jpg 160w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Taj Majal and his dog. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greene also documented the artists (including Rick Griffin, Stanley Mouse, Victor Moscoso and Alton Kelley), writers (like Neal Cassady), concert promoters (Bill Graham and Chet Helms) and roadies who helped turn what was going on in the Haight into a national moment. Their inclusion here offers a glimpse behind the scenes — and an essential reminder that the bands didn’t do it all on their own.\u003c/p>\n\u003cp>\u003cem>The Photography of Herb Greene\u003c/em>, then, is about much more than the musicians still eulogized on Haight Street today. It’s about the larger community that made the scene what it was. It’s about how music changes and evolves over time. And it’s about a neighborhood of regular people who inadvertently got caught up in a movement. \u003ci>That’s\u003c/i> worth giving a rat’s ass about, even if you don’t care for the Grateful Dead.\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>‘The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene’ is on view at the Haight Street Art Center (215 Haight St.) through May 29, 2023. \u003ca href=\"https://haightstreetart.org/pages/the-haight-ashbury-experience-and-the-pursuit-of-happiness-the-photography-of-herb-greene\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I couldn’t give a tiny rat’s ass about the Grateful Dead. There. I said it. Ordinarily, I’d shy away from announcing such a thing publicly, at the risk of awakening an army of pitchfork-wielding Deadheads. (Not the most measured of fanbases.) However, it would be wrong not to mention it before I start talking about a new exhibit of photography by Herb Greene given that Herb Greene is primarily remembered for his Grateful Dead portraits.\u003c/p>\n\u003cp>If you are indeed a Deadhead, or someone who is still reveling in a musical moment that existed over half a century ago, you don’t need me to explain the selling points of \u003cem>The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene\u003c/em>. You will go for the perfectly lovely photographs of the Grateful Dead, their former outfit The Warlocks and Janis Joplin. You might also go for the expertly composed portraits of Jefferson Airplane, Led Zeppelin, The Jeff Beck Group and The Charlatans.\u003c/p>\n\u003cfigure id=\"attachment_13925411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg\" alt=\"A pretty young woman kneels on a green and purple couch, twisting her head up towards the camera.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Grace-Slick-by-Herb-Greene_1920-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grace Slick in her Jefferson Airplane heyday. \u003ccite>(Herb Greene/ Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you are under the age of 60 or wondering why on God’s green earth San Francisco needs \u003ca href=\"https://www.kqed.org/arts/13039627/de-young-summer-of-love-50th-anniversary\">yet another exhibition glorifying the Summer of Love\u003c/a>, I have some news that might pleasantly surprise you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>First and foremost, in addition to his rock photography, Greene also made a habit of immortalizing the street life in the Haight when it was just another San Francisco neighborhood. He photographed the small businesses, local children, families and elderly residents already there when the hippie invasion first began.\u003c/p>\n\u003cp>These images present the neighborhood before it was a tie-dye-soaked tourist attraction and, crucially, capture the exact moment the first wave of disaffected youth arrived and changed the area forever. Though there is an entire wall of this kind of street photography at \u003cem>The Photography of Herb Greene\u003c/em>, I found myself wishing they inhabited the whole space.\u003c/p>\n\u003cfigure id=\"attachment_13925638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg\" alt=\"A flute-playing hippie and a bohemian friend, both male, walk along a tree lined street. Behind them a man in a suit and hat walks under a sign that reads 'Sher Real Estate INCOME TAX.’\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-800x808.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-160x162.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1-768x775.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/H1_Ohio_to_SF-Haight07-1.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Income tax with a side of street flautist. Haight Street in the ’60s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This exhibit also deserves kudos for painting a picture of the bohemian community of kids who were hanging around the Haight at the time. Yes, there are the requisite shots here of naked young people dancing and children clutching flowers at The Human Be-In. But Greene’s photographs also introduce us to the hitchhikers, street musicians and young optimists who migrated to San Francisco in the late 1960s and reveled in the new freedoms it offered. I am indefatigable when it comes to looking at subculture-immersed young people, no matter what era they’re from, and Greene’s photos more than do the Summer of Love kids justice.\u003c/p>\n\u003cfigure id=\"attachment_13925639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925639\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/82548-4-800x822.jpeg\" alt=\"Three teenagers, two females wearing embroidered shawls and long dresses and one young man wearing slacks and a jacket stand on a street corner huddled together. The word ASHBURY is carved into the sidewalk.\" width=\"800\" height=\"822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-800x822.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4-768x789.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/82548-4.jpeg 961w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three teens hanging in the Haight, 1960s. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Greene’s favorite places to photograph these young people was in front of the distinctive hieroglyph-covered wall in his studio, where he also shot famous musicians. \u003cem>The Photography of Herb Greene\u003c/em> condenses many of these portraits down onto a single collage board of images. The format hammers home that the hieroglyph wall itself was a great leveler. Famous or not, Greene treated all of his subjects the same in front of it — they became individual characters, each as important as the last.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Viewed as a collection now, it also reflects the monoculture of that scene. Though Greene himself was Chicano, every single person featured in the wall collage appears to be white.\u003c/p>\n\u003cp>That lack of diversity runs through much of Greene’s 1960s photography, a reflection of the Bay Area rock ’n’ roll scene of the time. (A portrait of Taj Mahal and his dog offers a particularly beautiful exception.) As such, Greene’s 1970s-era portraits of Sly and the Family Stone and the Pointer Sisters reflect how the mainstream music world began to open up once the Summer of Love ended. These images, shot in color, inject some vibrancy into \u003cem>The Photography of Herb Greene\u003c/em>. The original photo that Sly Stone used for the cover of 1975’s \u003ca href=\"https://www.discogs.com/release/1071382-Sly-Stone-High-On-You\" target=\"_blank\" rel=\"noopener\">\u003cem>High on You\u003c/em>\u003c/a> is a genuine joy to behold in real life.\u003c/p>\n\u003cfigure id=\"attachment_13925643\" class=\"wp-caption aligncenter\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Taj-Majal.jpg\" alt=\"A Black man with cornrows sits in a wooden chair wearing a tie-dye shirt and slacks. He is leaning forward as if in conversation. At his side is a shaggy white dog.\" width=\"496\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Taj-Majal-160x159.jpg 160w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Taj Majal and his dog. \u003ccite>(Herb Greene/ Courtesy of Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greene also documented the artists (including Rick Griffin, Stanley Mouse, Victor Moscoso and Alton Kelley), writers (like Neal Cassady), concert promoters (Bill Graham and Chet Helms) and roadies who helped turn what was going on in the Haight into a national moment. Their inclusion here offers a glimpse behind the scenes — and an essential reminder that the bands didn’t do it all on their own.\u003c/p>\n\u003cp>\u003cem>The Photography of Herb Greene\u003c/em>, then, is about much more than the musicians still eulogized on Haight Street today. It’s about the larger community that made the scene what it was. It’s about how music changes and evolves over time. And it’s about a neighborhood of regular people who inadvertently got caught up in a movement. \u003ci>That’s\u003c/i> worth giving a rat’s ass about, even if you don’t care for the Grateful Dead.\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>‘The Haight-Ashbury Experience and the Pursuit of Happiness: The Photography of Herb Greene’ is on view at the Haight Street Art Center (215 Haight St.) through May 29, 2023. \u003ca href=\"https://haightstreetart.org/pages/the-haight-ashbury-experience-and-the-pursuit-of-happiness-the-photography-of-herb-greene\">Exhibition details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Photographer Ashley A. Ross Reflects on Her Religious Upbringing in Debut MoAD Show",
"headTitle": "Oakland Photographer Ashley A. Ross Reflects on Her Religious Upbringing in Debut MoAD Show | KQED",
"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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"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"rss": "https://feeds.npr.org/510312/podcast.xml"
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},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"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",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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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
},
"link": "/podcasts/hyphenacion",
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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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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"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/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
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