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"content": "\u003cp>There’s nothing like the holidays in Union Square. Christmas tea at the St. Francis, the giant five-story tree at Neiman Marcus, ice skating in the heart of San Francisco and crowded sidewalks galore. \u003c/p>\n\u003cp>We recently dug in our archives here at KQED and discovered footage of Christmastime at Union Square from the late ’60s and early ’70s. Longtime locals will recognize bygone stores like FAO Schwarz (“Welcome to Our World of Toys”) and City of Paris, and vintage toy enthusiasts will notice the train sets and robots. The fashions are decidedly of the era, too—if you look closely, you’ll even see a longhaired, bellbottomed hippie among the tweed coats and three-piece suits. \u003c/p>\n\u003cp>Union Square is still a shopping mecca at Christmas—enjoy this brief glance at how it used to look. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "What is 'Black Art' in San Francisco in 2019 ?",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> voice came from the area near the door in the lobby of the CounterPulse Theatre and Gallery in San Francisco, asking for all the attendees who identify as black of African American to come with them; the rest of the audience was instructed to head toward the general seating area.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>A dozen black folks, a baker’s dozen including myself, were escorted up a set of stairs and into a small room. That’s where we saw a performance, an Igbo masquerade, for our eyes only. I’m not at liberty to recount further details of that aspect of the evening, but I can tell you this: I found what I had been searching for.\u003c/p>\n\u003cp>I had spent the previous week looking for, and trying to define, “black art.”\u003c/p>\n\u003cp>I read the article in the \u003cem>New York Times\u003c/em> about the “\u003ca href=\"https://www.nytimes.com/2019/11/24/arts/design/black-artists.html\" target=\"_blank\" rel=\"noopener noreferrer\">rising presence of black artists of every ilk\u003c/a>“—and the side-eye responses.\u003c/p>\n\u003cp>I saw the film \u003cem>Queen & Slim\u003c/em>, read the articles\u003ca href=\"https://www.nytimes.com/2019/11/21/magazine/queen-slim-movie.html\" target=\"_blank\" rel=\"noopener noreferrer\"> praising it\u003c/a> and \u003ca href=\"https://www.vulture.com/2019/11/queen-and-slim-movie-review.html\" target=\"_blank\" rel=\"noopener noreferrer\">critiquing it\u003c/a> (and I cracked up at the hashtag \u003ca href=\"https://twitter.com/hashtag/TweetLikeLena?src=hashtag_click\" target=\"_blank\" rel=\"noopener noreferrer\">#TweetLikeLena\u003c/a>).\u003c/p>\n\u003cp>I read about the issues around\u003ca href=\"https://www.nytimes.com/2019/12/03/arts/design/art-basel-miami-black-art.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Art spaces and ownership\u003c/a>, spawned by Art Basel. (And of course, I saw the story about the \u003ca href=\"https://www.vogue.com/article/the-120000-art-basel-banana-explained-maurizio-cattelan\" target=\"_blank\" rel=\"noopener noreferrer\">$120,000 banana\u003c/a>, and \u003ca href=\"https://www.cnn.com/style/article/david-datuna-banana-art-basel-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">the person who ate the banana\u003c/a>, and\u003ca href=\"https://twitter.com/fwmj/status/1204808132926394368?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> the Kanye meme\u003c/a> it inspired.)\u003c/p>\n\u003cp>And I’ve been following Chicago rapper and book club founder Noname. She shook a few folks when she publicly stated\u003ca href=\"https://uproxx.com/music/noname-white-audiences-black-art/\" target=\"_blank\" rel=\"noopener noreferrer\"> her stance against performing in front of majority white audiences\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13871393\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-complete_open_graph wp-image-13871393\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1200x1137.png\" alt=\"Via Noname's Twtitter\" width=\"640\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1200x1137.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-160x152.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-800x758.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-768x728.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1020x966.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM.png 1330w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Via Noname’s Twitter. \u003ccite>(Via Noname's Twtitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I found myself awake at 2am watching this interview with \u003ca href=\"https://www.youtube.com/watch?v=F4vIGvKpT1c\" target=\"_blank\" rel=\"noopener noreferrer\">Toni Morrison\u003c/a>, describing what it’s like to not adhere to the “white gaze” in her art. I also watched this old episode of Bernie Mac on \u003ca href=\"https://www.youtube.com/watch?v=UaXVt1QTwRU&t=21s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Def Comedy Jam\u003c/em>\u003c/a>, because I’m pretty sure that’s where I get \u003cem>my\u003c/em> definition of Black Art. The artists’ method of oral storytelling, the audience rolling in the aisle in reaction, and ownership over the content.\u003c/p>\n\u003cp>But… damn. What about the venue owner? And the distributor? (I was watching on YouTube, owned by Google.) There’s always something. Can you really have art that is fully black in America? Or is \u003cem>that\u003c/em> a part of Black Art? You know, being creative despite the circumstances?\u003c/p>\n\u003cfigure id=\"attachment_13871418\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871418\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/0-800x450.jpg\" alt='\"mouth/full\" performance at CounterPulse.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“mouth/full” performance at CounterPulse. \u003ccite>( Photos by Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>t Counterpulse, after coming down the stairs from the small room, we were asked to sit on three pews set up in a triangle in the middle of the stage area. Two long pieces of church-style red carpet made a cross in the middle of the pews; a pulpit sat in the middle of that.\u003c/p>\n\u003cp>We were in the show. Everyone else sat outside of the triangle, in the theatre seating.\u003c/p>\n\u003cp>The two-person \u003cem>mouth//full\u003c/em>, written and performed by \u003ca href=\"http://counterpulse.org/other-artists/gabriel-christian-chibueze-crouch/\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriel Christian and Chibueze Crouch\u003c/a>, included a set of spiritual dance performances and monologues focusing on experiences in the Black Church. Throughout the performance, the carpet became disheveled, and the minister’s pulpit was hoisted on Gabriel’s back and carried away; almost symbolically going from organized religion back to a space of open spirituality.\u003c/p>\n\u003cp>By the end of the performance, the group of us in the pews were invited to step into one of four groups based on affirmative statements we identified with—two of them led by guest artists \u003ca href=\"https://www.afrourban.org/post/180567987456/about-moclearly-monica-hastings-smith\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Hastings-Smith\u003c/a> and Rev. Mutima Imani. Once groups were established, we shared in a session of communal chanting.\u003c/p>\n\u003cp>I damn near forgot there were other people in the audience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Intermission came and I caught a little fresh air before doubling back for the second act, \u003cem>She-Verse,\u003c/em> a multimedia piece by \u003ca href=\"http://counterpulse.org/other-artists/cherie-hill-iriedance/\">Cherie Hill IrieDance, \u003c/a>which explores the parallels between the way women and the planet are treated. The racially diverse group—Lashon A. Daley, Andreína Maldonado, Rose Rothfeder and dancer/choreographer Cherie Hill—put on a show that was a little lighter than the piece prior to it. But still, being written by a black woman makes it Black Art, right? Hill, \u003ca href=\"http://www.iriedance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a dance scholar\u003c/a>, believes so.\u003c/p>\n\u003cp>“My work comes from black feminism. And when I think of Black Art, I think it comes from black people,” she told me. “Black people are diverse, so there are going to be a lot of different things put out there.”\u003c/p>\n\u003cp>Chibueze Crouch also believes there’s a broad answer to the question, but when it boils down to it, “There’s a shared sense of community in Black Art… there’s always something shared in the experiences between the creators and consumers of Black Art.”\u003c/p>\n\u003cp>In regard to the opening, Crouch told me, the aim was to center black experiences, uplift tradition and modernize it with subtle changes that nod to gender rights, as well. “It’s about reclaiming that black spirituality; the masquerade was the original church, the original place where black people could gather and do art,” Crouch said. “It’s where Black Art comes from: the spirituality, the shared experience.”\u003c/p>\n\u003cp>Gabriel Christian added, in regards to the play’s format, that “everyone else has the privilege of seeing us in communion, but not everyone is going to get it… I’ve already had reviews from white people talking about how they didn’t get it, and that’s fine. I don’t think it was meant to be gotten by anybody but the folks inside of that triangle.”\u003c/p>\n\u003cp>Christian emphasized that those outside the triangle are privy to only “a snapshot of what it’s like for us to be in community, and how powerful it is, and how sacred it is.”\u003c/p>\n\u003cfigure id=\"attachment_13871456\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/0-1-800x533.jpg\" alt=\"The Cherie Hill IrieDance cast\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cherie Hill IrieDance cast. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n that small stage, I saw something that spoke to Noname’s concerns over who’s consuming our art, as well as the conversation around \u003cem>Queen & Slim\u003c/em>, and how black trauma is shown and African American Vernacular English is used.\u003c/p>\n\u003cp>Before concluding our conversation, Christian said, “I think it’s impossible to \u003cem>not\u003c/em> be an artist, and be a black person living here.”\u003c/p>\n\u003cp>To which Crouch added: “We have to make survival palatable.”\u003c/p>\n\u003cp>It made me think of the poet Toni Cade Bambara, whose work contributed to the\u003ca href=\"https://libguides.wustl.edu/poetry-bam/timeline\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Arts Movement\u003c/a>, and who once wrote: “The purpose of a writer is to make revolution \u003cem>irresistible\u003c/em>.”\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>\u003cem>‘She-Verse’ and ‘mouth//full’ run for two more performances, Dec. 13 and 14, at CounterPulse in San Francisco. \u003ca href=\"https://counterpulse.org/event/performingdiaspora2019/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Is it freedom? Originality? Survival? I visited a performance in the city to find out.",
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"title": "What is 'Black Art' in San Francisco in 2019 ? | KQED",
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"headline": "What is 'Black Art' in San Francisco in 2019 ?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> voice came from the area near the door in the lobby of the CounterPulse Theatre and Gallery in San Francisco, asking for all the attendees who identify as black of African American to come with them; the rest of the audience was instructed to head toward the general seating area.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>A dozen black folks, a baker’s dozen including myself, were escorted up a set of stairs and into a small room. That’s where we saw a performance, an Igbo masquerade, for our eyes only. I’m not at liberty to recount further details of that aspect of the evening, but I can tell you this: I found what I had been searching for.\u003c/p>\n\u003cp>I had spent the previous week looking for, and trying to define, “black art.”\u003c/p>\n\u003cp>I read the article in the \u003cem>New York Times\u003c/em> about the “\u003ca href=\"https://www.nytimes.com/2019/11/24/arts/design/black-artists.html\" target=\"_blank\" rel=\"noopener noreferrer\">rising presence of black artists of every ilk\u003c/a>“—and the side-eye responses.\u003c/p>\n\u003cp>I saw the film \u003cem>Queen & Slim\u003c/em>, read the articles\u003ca href=\"https://www.nytimes.com/2019/11/21/magazine/queen-slim-movie.html\" target=\"_blank\" rel=\"noopener noreferrer\"> praising it\u003c/a> and \u003ca href=\"https://www.vulture.com/2019/11/queen-and-slim-movie-review.html\" target=\"_blank\" rel=\"noopener noreferrer\">critiquing it\u003c/a> (and I cracked up at the hashtag \u003ca href=\"https://twitter.com/hashtag/TweetLikeLena?src=hashtag_click\" target=\"_blank\" rel=\"noopener noreferrer\">#TweetLikeLena\u003c/a>).\u003c/p>\n\u003cp>I read about the issues around\u003ca href=\"https://www.nytimes.com/2019/12/03/arts/design/art-basel-miami-black-art.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Art spaces and ownership\u003c/a>, spawned by Art Basel. (And of course, I saw the story about the \u003ca href=\"https://www.vogue.com/article/the-120000-art-basel-banana-explained-maurizio-cattelan\" target=\"_blank\" rel=\"noopener noreferrer\">$120,000 banana\u003c/a>, and \u003ca href=\"https://www.cnn.com/style/article/david-datuna-banana-art-basel-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">the person who ate the banana\u003c/a>, and\u003ca href=\"https://twitter.com/fwmj/status/1204808132926394368?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> the Kanye meme\u003c/a> it inspired.)\u003c/p>\n\u003cp>And I’ve been following Chicago rapper and book club founder Noname. She shook a few folks when she publicly stated\u003ca href=\"https://uproxx.com/music/noname-white-audiences-black-art/\" target=\"_blank\" rel=\"noopener noreferrer\"> her stance against performing in front of majority white audiences\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13871393\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-complete_open_graph wp-image-13871393\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1200x1137.png\" alt=\"Via Noname's Twtitter\" width=\"640\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1200x1137.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-160x152.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-800x758.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-768x728.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1020x966.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM.png 1330w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Via Noname’s Twitter. \u003ccite>(Via Noname's Twtitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I found myself awake at 2am watching this interview with \u003ca href=\"https://www.youtube.com/watch?v=F4vIGvKpT1c\" target=\"_blank\" rel=\"noopener noreferrer\">Toni Morrison\u003c/a>, describing what it’s like to not adhere to the “white gaze” in her art. I also watched this old episode of Bernie Mac on \u003ca href=\"https://www.youtube.com/watch?v=UaXVt1QTwRU&t=21s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Def Comedy Jam\u003c/em>\u003c/a>, because I’m pretty sure that’s where I get \u003cem>my\u003c/em> definition of Black Art. The artists’ method of oral storytelling, the audience rolling in the aisle in reaction, and ownership over the content.\u003c/p>\n\u003cp>But… damn. What about the venue owner? And the distributor? (I was watching on YouTube, owned by Google.) There’s always something. Can you really have art that is fully black in America? Or is \u003cem>that\u003c/em> a part of Black Art? You know, being creative despite the circumstances?\u003c/p>\n\u003cfigure id=\"attachment_13871418\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871418\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/0-800x450.jpg\" alt='\"mouth/full\" performance at CounterPulse.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“mouth/full” performance at CounterPulse. \u003ccite>( Photos by Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>t Counterpulse, after coming down the stairs from the small room, we were asked to sit on three pews set up in a triangle in the middle of the stage area. Two long pieces of church-style red carpet made a cross in the middle of the pews; a pulpit sat in the middle of that.\u003c/p>\n\u003cp>We were in the show. Everyone else sat outside of the triangle, in the theatre seating.\u003c/p>\n\u003cp>The two-person \u003cem>mouth//full\u003c/em>, written and performed by \u003ca href=\"http://counterpulse.org/other-artists/gabriel-christian-chibueze-crouch/\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriel Christian and Chibueze Crouch\u003c/a>, included a set of spiritual dance performances and monologues focusing on experiences in the Black Church. Throughout the performance, the carpet became disheveled, and the minister’s pulpit was hoisted on Gabriel’s back and carried away; almost symbolically going from organized religion back to a space of open spirituality.\u003c/p>\n\u003cp>By the end of the performance, the group of us in the pews were invited to step into one of four groups based on affirmative statements we identified with—two of them led by guest artists \u003ca href=\"https://www.afrourban.org/post/180567987456/about-moclearly-monica-hastings-smith\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Hastings-Smith\u003c/a> and Rev. Mutima Imani. Once groups were established, we shared in a session of communal chanting.\u003c/p>\n\u003cp>I damn near forgot there were other people in the audience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Intermission came and I caught a little fresh air before doubling back for the second act, \u003cem>She-Verse,\u003c/em> a multimedia piece by \u003ca href=\"http://counterpulse.org/other-artists/cherie-hill-iriedance/\">Cherie Hill IrieDance, \u003c/a>which explores the parallels between the way women and the planet are treated. The racially diverse group—Lashon A. Daley, Andreína Maldonado, Rose Rothfeder and dancer/choreographer Cherie Hill—put on a show that was a little lighter than the piece prior to it. But still, being written by a black woman makes it Black Art, right? Hill, \u003ca href=\"http://www.iriedance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a dance scholar\u003c/a>, believes so.\u003c/p>\n\u003cp>“My work comes from black feminism. And when I think of Black Art, I think it comes from black people,” she told me. “Black people are diverse, so there are going to be a lot of different things put out there.”\u003c/p>\n\u003cp>Chibueze Crouch also believes there’s a broad answer to the question, but when it boils down to it, “There’s a shared sense of community in Black Art… there’s always something shared in the experiences between the creators and consumers of Black Art.”\u003c/p>\n\u003cp>In regard to the opening, Crouch told me, the aim was to center black experiences, uplift tradition and modernize it with subtle changes that nod to gender rights, as well. “It’s about reclaiming that black spirituality; the masquerade was the original church, the original place where black people could gather and do art,” Crouch said. “It’s where Black Art comes from: the spirituality, the shared experience.”\u003c/p>\n\u003cp>Gabriel Christian added, in regards to the play’s format, that “everyone else has the privilege of seeing us in communion, but not everyone is going to get it… I’ve already had reviews from white people talking about how they didn’t get it, and that’s fine. I don’t think it was meant to be gotten by anybody but the folks inside of that triangle.”\u003c/p>\n\u003cp>Christian emphasized that those outside the triangle are privy to only “a snapshot of what it’s like for us to be in community, and how powerful it is, and how sacred it is.”\u003c/p>\n\u003cfigure id=\"attachment_13871456\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/0-1-800x533.jpg\" alt=\"The Cherie Hill IrieDance cast\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cherie Hill IrieDance cast. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n that small stage, I saw something that spoke to Noname’s concerns over who’s consuming our art, as well as the conversation around \u003cem>Queen & Slim\u003c/em>, and how black trauma is shown and African American Vernacular English is used.\u003c/p>\n\u003cp>Before concluding our conversation, Christian said, “I think it’s impossible to \u003cem>not\u003c/em> be an artist, and be a black person living here.”\u003c/p>\n\u003cp>To which Crouch added: “We have to make survival palatable.”\u003c/p>\n\u003cp>It made me think of the poet Toni Cade Bambara, whose work contributed to the\u003ca href=\"https://libguides.wustl.edu/poetry-bam/timeline\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Arts Movement\u003c/a>, and who once wrote: “The purpose of a writer is to make revolution \u003cem>irresistible\u003c/em>.”\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>\u003cem>‘She-Verse’ and ‘mouth//full’ run for two more performances, Dec. 13 and 14, at CounterPulse in San Francisco. \u003ca href=\"https://counterpulse.org/event/performingdiaspora2019/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-black-community-a-target-for-the-tobacco-industry-since-slavery",
"title": "The Black Community: A Target for the Tobacco Industry Since Slavery",
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"headTitle": "The Black Community: A Target for the Tobacco Industry Since Slavery | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ave you ever looked at the Center for Disease Control’s \u003ca href=\"https://www.cdc.gov/tobacco/disparities/african-americans/index.htm\">web page\u003c/a> that highlights the tobacco industry’s impact on African Americans? It’s horrifying.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>According to the data, black folks say they want to quit smoking more than other demographic, but fail more often. We are more readily exposed to second hand smoke than other groups. And we live in communities where smoking advertisements disproportionately saturate the market—especially ads for menthols.\u003c/p>\n\u003cp>And in big bold letters, in the middle of the page, it says, “Tobacco use is a major contributor to the three leading causes of death among African Americans—heart disease, cancer, and stroke.”\u003c/p>\n\u003cp>Yeah, the numbers are up to date. And at the same time, this issue isn’t anything new. It’s been like this for ages. Some might say it’s been like this since our ancestors were enslaved on the tobacco farms in the Carolinas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m looking at it from slavery to vaping,” says Tracy Brown, lead artist and curator of the \u003ca href=\"https://www.eventbrite.com/e/same-game-different-smokers-exhibition-registration-79486629649\">\u003cem>Same Game Different Smokers\u003c/em>\u003c/a>, an exhibition sponsored by The African American Tobacco Contol Leadership Council (AATCLC) and the African American Center at the San Francisco Library, which is running at the San Francisco Main Library from Dec. 7 through the first week of February.\u003c/p>\n\u003cfigure id=\"attachment_13870551\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-800x555.png\" alt=\"Jim Crow meets Newport\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-800x555.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-768x532.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM.png 952w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Crow meets Newport. \u003ccite>(Tracy Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>n exhibition about the tobacco industry preying on African Americans isn’t new—there have been many others. But many of them look at the 1950s and ’60s, according to Brown. “I make the case that the tobacco industry has been targeting the black community since the 1600s,” she says.\u003c/p>\n\u003cp>Brown uses archival images, depictions of black people from the last decade as well as from the last century. She compares the posture of people in the photos, combines that with data collected from industry documents, and shows it all as evidence why 45,000 African Americans die from smoking every year.\u003c/p>\n\u003cp>But Brown, who works with the\u003ca href=\"https://www.savingblacklives.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> African American Tobacco Control Leadership Council\u003c/a>, says San Francisco’s recent passage of legislation \u003ca href=\"https://www.kqed.org/news/11784856/san-francisco-voters-uphold-ban-on-e-cigarette-sales-rejecting-juul-funded-proposition-c\" target=\"_blank\" rel=\"noopener noreferrer\">banning the sale of e-cigarettes\u003c/a> is a glimmer of hope, and may be a sign that Big Tobacco is losing control.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2020/01/WattTobaccoExhibit.mp3\" Image=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-1.jpg \" Title=\"A New Exhibition Sheds Light on How Big Tobacco Targeted Generations of Black Americans\"]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>KQED’s \u003ca href=\"https://www.kqed.org/author/bwatt\">Brian Watt\u003c/a> visited \u003c/em>\u003ca href=\"http://sfpl.org/?pg=1041223901\" target=\"_blank\" rel=\"noopener noreferrer\">Same Game Different Smokers\u003c/a>\u003cem>, an exhibition at the San Francisco Public Library that sheds light on how big tobacco companies have historically preyed on African American communities. Tap play above to listen to the segment. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>She adds it’s unfortunate that change has been spawned by headline after headline of vaping deaths, largely in white communities. But maybe it’ll open the conversation to smoking’s impacts, past and preset, on the black community.\u003c/p>\n\u003cp>“We know that menthol products have been used to target the black community,” says Brown. “The makers of Newport, for example.”\u003c/p>\n\u003cp>According to the CDC, “Over 7 out of 10 African American youth ages 12-17 years who smoke use menthol cigarettes.”\u003c/p>\n\u003cp>I asked the dumb question that needed to be asked: why do black folks like menthol?\u003c/p>\n\u003cp>Brown says, “We tend to lean toward menthol, not because of a natural inclination, but what happens with menthol when you smoke it. It sweetens the taste of tobacco, cools down and numbs your mouth and throat. The kids like menthol and mint flavors.”\u003c/p>\n\u003cp>But the black community isn’t unique in liking menthol products, says Brown. “What’s unique is the tobacco industry using \u003cem>JET\u003c/em> magazine and \u003cem>Ebony\u003c/em>, and attaching them to images of us that are very attractive.”\u003c/p>\n\u003cfigure id=\"attachment_13870723\" class=\"wp-caption alignright\" style=\"max-width: 193px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13870723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/download.jpg\" alt=\"Tracy Brown\" width=\"193\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-160x410.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-469x1200.jpg 469w\" sizes=\"(max-width: 193px) 100vw, 193px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Brown. \u003ccite>(Tracy Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was a time when I smoked menthols as a teen. But during that short stint, on one fateful day, I put a partially lit Newport into my pants pocket while rushing to jump the 58 bus in downtown Oakland. Yup, that’s all it took for me to kick the habit.\u003c/p>\n\u003cp>Some people aren’t as lucky to feel the pain of smoking so acutely. For most of my friends, at this age, it’s habitual. But at one time, I recall them telling me it was about a feeling, or just about access, or simply an aesthetic thing.\u003c/p>\n\u003cp>Brown says that aesthetic—that attractive image, which the big tobacco companies successfully sold—was strategic. But it goes beyond advertising. “They sponsored events, they work with black leaders… the tobacco industry has been very cunning in getting support of the black community,” says Brown.\u003c/p>\n\u003cp>There are reportedly \u003ca href=\"https://www.tobaccofreekids.org/assets/factsheets/0208.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">documents that show \u003c/a> that show tobacco companies, like Phillip Morris, have been “engaged” with the NAACP the National Urban League and The United Negro College Fund since the 1950s.\u003c/p>\n\u003cp>Prior to doing any research, Brown already presumed the people who run the industry were “shiesty.” Digging into old reports and data confirmed that assumption, and talking to people about firsthand experiences brought further revelations about the size of the tobacco industry’s target on the black community.\u003c/p>\n\u003cp>“One guy told me his mom would leave a lit cigarette in each room so she’d have something to smoke as she walked thru the house,” says Brown.\u003c/p>\n\u003cp>She’s been impacted by smoking on a personal level, too. She’s lost six close family members from tobacco. “One of my favorite aunts died this year,” she says, “and she was a chain smoker.”\u003c/p>\n\u003cp>She told me her aunt’s name was Victoria—Aunt Vicky—who loved gardening and watching movies, “and she could talk mess with the best of them,” said Brown, who used to visit her all the time in Florida.\u003c/p>\n\u003cp>Brown says she has family roots down there, as well as Mississippi and South Carolina. She’s traced her lineage, and has found the family that enslaved her paternal grandfather’s side. “My great-great-great grandfather was able to buy the land.”\u003c/p>\n\u003cp>Of course, it was “40 acres and a mule,” supposedly granted to formerly enslaved folks by the \u003ca href=\"https://www.georgiaencyclopedia.org/articles/history-archaeology/shermans-field-order-no-15\" target=\"_blank\" rel=\"noopener noreferrer\">Freedman’s Bureau\u003c/a>. And, of course, it was agricultural land in South Carolina—where they most likely grew tobacco.\u003c/p>\n\u003cfigure id=\"attachment_13870956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870956\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Newport-800x528.jpg\" alt=\"Newport and Kool cigarette ads.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-1200x793.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport.jpg 1337w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Newport and Kool cigarette ads.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut Brown, a proud San Francisco native, says San Francisco is doing something significant with its e-cigarette ban, hence her desire to hold the opening here. Ultimately, she wants to spread the word, bring the exhibit to other cities, get the FDA to step to the plate, and see something happen on a federal level.\u003c/p>\n\u003cp>At the same time, Brown isn’t waiting on elected officials. She wants families to be proactive, too. And she’s extending an invitation to all school districts to take a school trip or tell the friends and family about the exhibition. “I’ve talked to every child in my life about these products,” she says.\u003c/p>\n\u003cp>It’s a drastic shift from when I was a kid. Just a few decades ago, smoking was everywhere. Joe Camel was a cool-ass smoking cartoon. The fly guys all smoked in movies. There were billboards and bus benches. Not to mention ads in the corner stores—and there were stores on every corner. Hell, one of the coldest lines of all time is Richie Rich’s: “\u003ca href=\"https://www.youtube.com/watch?v=CiZ3XtGtmQs\" target=\"_blank\" rel=\"noopener noreferrer\">Where you from? Oakland, smokin’!\u003c/a>”\u003c/p>\n\u003cp>Of course, Rich was talking about smoking marijuana. But even that usually came rolled in tobacco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Same Game Different Smokers’ runs Dec. 7–Feb. 6 at the Main Branch of the San Francisco Public Library. The opening reception on Dec. 7 includes a presentation from \u003ca href=\"https://www.facebook.com/pages/category/Community-Organization/Ohlone-Sisters-2025939511008221/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">The Ohlone Sisters, \u003c/a>a performance by \u003ca href=\"https://www.actaonline.org/profile/omnira-institute/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Awon Ohun Omnira (Voices of Freedom) \u003c/a>and a mural by \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Aerosoul Arts\u003c/a> called “Emancipate Yourself From Menthol Slavery.” \u003ca href=\"https://sfpl.org/index.php?pg=1041223901\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ave you ever looked at the Center for Disease Control’s \u003ca href=\"https://www.cdc.gov/tobacco/disparities/african-americans/index.htm\">web page\u003c/a> that highlights the tobacco industry’s impact on African Americans? It’s horrifying.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>According to the data, black folks say they want to quit smoking more than other demographic, but fail more often. We are more readily exposed to second hand smoke than other groups. And we live in communities where smoking advertisements disproportionately saturate the market—especially ads for menthols.\u003c/p>\n\u003cp>And in big bold letters, in the middle of the page, it says, “Tobacco use is a major contributor to the three leading causes of death among African Americans—heart disease, cancer, and stroke.”\u003c/p>\n\u003cp>Yeah, the numbers are up to date. And at the same time, this issue isn’t anything new. It’s been like this for ages. Some might say it’s been like this since our ancestors were enslaved on the tobacco farms in the Carolinas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m looking at it from slavery to vaping,” says Tracy Brown, lead artist and curator of the \u003ca href=\"https://www.eventbrite.com/e/same-game-different-smokers-exhibition-registration-79486629649\">\u003cem>Same Game Different Smokers\u003c/em>\u003c/a>, an exhibition sponsored by The African American Tobacco Contol Leadership Council (AATCLC) and the African American Center at the San Francisco Library, which is running at the San Francisco Main Library from Dec. 7 through the first week of February.\u003c/p>\n\u003cfigure id=\"attachment_13870551\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-800x555.png\" alt=\"Jim Crow meets Newport\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-800x555.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM-768x532.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-02-at-10.45.10-AM.png 952w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Crow meets Newport. \u003ccite>(Tracy Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>n exhibition about the tobacco industry preying on African Americans isn’t new—there have been many others. But many of them look at the 1950s and ’60s, according to Brown. “I make the case that the tobacco industry has been targeting the black community since the 1600s,” she says.\u003c/p>\n\u003cp>Brown uses archival images, depictions of black people from the last decade as well as from the last century. She compares the posture of people in the photos, combines that with data collected from industry documents, and shows it all as evidence why 45,000 African Americans die from smoking every year.\u003c/p>\n\u003cp>But Brown, who works with the\u003ca href=\"https://www.savingblacklives.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> African American Tobacco Control Leadership Council\u003c/a>, says San Francisco’s recent passage of legislation \u003ca href=\"https://www.kqed.org/news/11784856/san-francisco-voters-uphold-ban-on-e-cigarette-sales-rejecting-juul-funded-proposition-c\" target=\"_blank\" rel=\"noopener noreferrer\">banning the sale of e-cigarettes\u003c/a> is a glimmer of hope, and may be a sign that Big Tobacco is losing control.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>KQED’s \u003ca href=\"https://www.kqed.org/author/bwatt\">Brian Watt\u003c/a> visited \u003c/em>\u003ca href=\"http://sfpl.org/?pg=1041223901\" target=\"_blank\" rel=\"noopener noreferrer\">Same Game Different Smokers\u003c/a>\u003cem>, an exhibition at the San Francisco Public Library that sheds light on how big tobacco companies have historically preyed on African American communities. Tap play above to listen to the segment. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>She adds it’s unfortunate that change has been spawned by headline after headline of vaping deaths, largely in white communities. But maybe it’ll open the conversation to smoking’s impacts, past and preset, on the black community.\u003c/p>\n\u003cp>“We know that menthol products have been used to target the black community,” says Brown. “The makers of Newport, for example.”\u003c/p>\n\u003cp>According to the CDC, “Over 7 out of 10 African American youth ages 12-17 years who smoke use menthol cigarettes.”\u003c/p>\n\u003cp>I asked the dumb question that needed to be asked: why do black folks like menthol?\u003c/p>\n\u003cp>Brown says, “We tend to lean toward menthol, not because of a natural inclination, but what happens with menthol when you smoke it. It sweetens the taste of tobacco, cools down and numbs your mouth and throat. The kids like menthol and mint flavors.”\u003c/p>\n\u003cp>But the black community isn’t unique in liking menthol products, says Brown. “What’s unique is the tobacco industry using \u003cem>JET\u003c/em> magazine and \u003cem>Ebony\u003c/em>, and attaching them to images of us that are very attractive.”\u003c/p>\n\u003cfigure id=\"attachment_13870723\" class=\"wp-caption alignright\" style=\"max-width: 193px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13870723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/download.jpg\" alt=\"Tracy Brown\" width=\"193\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-160x410.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/download-469x1200.jpg 469w\" sizes=\"(max-width: 193px) 100vw, 193px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Brown. \u003ccite>(Tracy Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was a time when I smoked menthols as a teen. But during that short stint, on one fateful day, I put a partially lit Newport into my pants pocket while rushing to jump the 58 bus in downtown Oakland. Yup, that’s all it took for me to kick the habit.\u003c/p>\n\u003cp>Some people aren’t as lucky to feel the pain of smoking so acutely. For most of my friends, at this age, it’s habitual. But at one time, I recall them telling me it was about a feeling, or just about access, or simply an aesthetic thing.\u003c/p>\n\u003cp>Brown says that aesthetic—that attractive image, which the big tobacco companies successfully sold—was strategic. But it goes beyond advertising. “They sponsored events, they work with black leaders… the tobacco industry has been very cunning in getting support of the black community,” says Brown.\u003c/p>\n\u003cp>There are reportedly \u003ca href=\"https://www.tobaccofreekids.org/assets/factsheets/0208.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">documents that show \u003c/a> that show tobacco companies, like Phillip Morris, have been “engaged” with the NAACP the National Urban League and The United Negro College Fund since the 1950s.\u003c/p>\n\u003cp>Prior to doing any research, Brown already presumed the people who run the industry were “shiesty.” Digging into old reports and data confirmed that assumption, and talking to people about firsthand experiences brought further revelations about the size of the tobacco industry’s target on the black community.\u003c/p>\n\u003cp>“One guy told me his mom would leave a lit cigarette in each room so she’d have something to smoke as she walked thru the house,” says Brown.\u003c/p>\n\u003cp>She’s been impacted by smoking on a personal level, too. She’s lost six close family members from tobacco. “One of my favorite aunts died this year,” she says, “and she was a chain smoker.”\u003c/p>\n\u003cp>She told me her aunt’s name was Victoria—Aunt Vicky—who loved gardening and watching movies, “and she could talk mess with the best of them,” said Brown, who used to visit her all the time in Florida.\u003c/p>\n\u003cp>Brown says she has family roots down there, as well as Mississippi and South Carolina. She’s traced her lineage, and has found the family that enslaved her paternal grandfather’s side. “My great-great-great grandfather was able to buy the land.”\u003c/p>\n\u003cp>Of course, it was “40 acres and a mule,” supposedly granted to formerly enslaved folks by the \u003ca href=\"https://www.georgiaencyclopedia.org/articles/history-archaeology/shermans-field-order-no-15\" target=\"_blank\" rel=\"noopener noreferrer\">Freedman’s Bureau\u003c/a>. And, of course, it was agricultural land in South Carolina—where they most likely grew tobacco.\u003c/p>\n\u003cfigure id=\"attachment_13870956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870956\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Newport-800x528.jpg\" alt=\"Newport and Kool cigarette ads.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport-1200x793.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Newport.jpg 1337w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Newport and Kool cigarette ads.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut Brown, a proud San Francisco native, says San Francisco is doing something significant with its e-cigarette ban, hence her desire to hold the opening here. Ultimately, she wants to spread the word, bring the exhibit to other cities, get the FDA to step to the plate, and see something happen on a federal level.\u003c/p>\n\u003cp>At the same time, Brown isn’t waiting on elected officials. She wants families to be proactive, too. And she’s extending an invitation to all school districts to take a school trip or tell the friends and family about the exhibition. “I’ve talked to every child in my life about these products,” she says.\u003c/p>\n\u003cp>It’s a drastic shift from when I was a kid. Just a few decades ago, smoking was everywhere. Joe Camel was a cool-ass smoking cartoon. The fly guys all smoked in movies. There were billboards and bus benches. Not to mention ads in the corner stores—and there were stores on every corner. Hell, one of the coldest lines of all time is Richie Rich’s: “\u003ca href=\"https://www.youtube.com/watch?v=CiZ3XtGtmQs\" target=\"_blank\" rel=\"noopener noreferrer\">Where you from? Oakland, smokin’!\u003c/a>”\u003c/p>\n\u003cp>Of course, Rich was talking about smoking marijuana. But even that usually came rolled in tobacco.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Same Game Different Smokers’ runs Dec. 7–Feb. 6 at the Main Branch of the San Francisco Public Library. The opening reception on Dec. 7 includes a presentation from \u003ca href=\"https://www.facebook.com/pages/category/Community-Organization/Ohlone-Sisters-2025939511008221/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">The Ohlone Sisters, \u003c/a>a performance by \u003ca href=\"https://www.actaonline.org/profile/omnira-institute/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Awon Ohun Omnira (Voices of Freedom) \u003c/a>and a mural by \u003ca href=\"http://www.aerosoulart.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Aerosoul Arts\u003c/a> called “Emancipate Yourself From Menthol Slavery.” \u003ca href=\"https://sfpl.org/index.php?pg=1041223901\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bedlam and Broomsticks: A 12-Year-Old Fan Reviews 'Harry Potter and the Cursed Child'",
"headTitle": "Bedlam and Broomsticks: A 12-Year-Old Fan Reviews ‘Harry Potter and the Cursed Child’ | KQED",
"content": "\u003cp>After more than a month of previews, \u003cem>Harry Potter and the Cursed Child \u003c/em>opened at the Curran Theatre with a Sunday marathon of both Parts One and Two—over five hours of wizardly drama and human emotion.\u003c/p>\n\u003cp>Beyond the first few books, my knowledge of Harry Potter lore is woefully minimal. So I brought a guide. Juliana Greco is 12 years old, and a proud Gryffindor. She first read the entire series of Harry Potter books when she was eight, has seen all the movies, and even went to a midnight book release party for the published script of \u003cem>Harry Potter and the Cursed Child\u003c/em> in 2016. Plus, she went to the very first preview performance of \u003cem>Harry Potter and the Cursed Child\u003c/em> back in October. Besides \u003cem>The Nutcracker\u003c/em> at the San Francisco Ballet, this wildly inventive, epic production is her first play.\u003c/p>\n\u003cfigure id=\"attachment_13870658\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870658\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern-.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My tour guide to all things Harry Potter, guest critic Juliana Greco. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: What’s something you noticed this time around that you hadn’t noticed before (during the preview performance)?\u003c/strong>\u003c/p>\n\u003cp>Juliana Greco: They use suitcases a lot, as props. They sat on the suitcases in the Hogwarts Express, and then they used them stacked for the top of the train, and then they walked out with the suitcases while they put things on the stage, to distract us.\u003c/p>\n\u003cfigure id=\"attachment_13870668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suitcase-train car, with Katherine Leask, Benjamin Papac, and Jon Steiger. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>That’s a really good observation. They use them as tombstones too, I noticed. What’s another?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The lighting. I noticed that in different scenes it’s lighter or darker…like the forbidden forest and the lake need to be darker, but they still put small spotlights on the people so we could see them. And then in later scenes, like at Hogwarts, or the Ministry of Magic, you would need more light.\u003c/p>\n\u003cp>\u003cstrong>I thought the lighting (designed by Neil Austin) was \u003cem>very\u003c/em> well done. As long as we’re talking about lights, how did the sound affect you? What did you think about it?\u003c/strong>\u003c/p>\n\u003cp>I liked the sound, because it kind of helped make it more magical, and make the effects seem like they had sounds…The music is there to \u003cem>feel\u003c/em> it, so you don’t just hear talking, but you can feel what they feel as their characters…like maybe they’re sad or there’s something they’re realizing.\u003c/p>\n\u003cfigure id=\"attachment_13870666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A perfect lighting moment in an alternate, totalitarian universe. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s a favorite magic trick that you saw in the play?\u003c/strong>\u003c/p>\n\u003cp>I think the time-turner, because it brings them back in time. And that wavy movement on the stage, as if time is rippling back, is really magical.\u003c/p>\n\u003cp>\u003cstrong>It’s pretty cool. I don’t think I’ve seen something like that on a stage before.\u003c/strong>\u003c/p>\n\u003cp>Also, the sound makes it feel like it’s vibrating, which makes you feel like you’re vibrating.\u003c/p>\n\u003cp>\u003cstrong>Yeah, like \u003cem>you’re \u003c/em>going back in time.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13870662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A magic bookcase is one of the many, inventive effects in Harry Potter and the Cursed Child. With Yanna McIntosh, David Abeles, and John Skelley. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production design was indeed a highlight. Although the musical score penned by alt-rocker Imogen Heap struck me in places as being overly cinematic, as Juliana noted, the sound design by Gareth Fry lent veracity to the magic effects. The lighting shouldered much of the burden of shifting time and place, in a palette that encompassed the warm glow of a family home, the aquatic blues of a dazzling underwater sequence, and the harsh vision of a totalitarian alternate reality. Meanwhile, the magical staging offered just the right balance between humor and wonder (illusions and magic by Jamie Harrison, bolstered by key video projections by Finn Ross and Ash J. Woodward). Startling, immersive flourishes beyond the elaborately arched set (Christine Jones), such as the Hogwarts carpeting and wallpaper adorning the Curran, and occasional breaks in the fourth wall added greatly to the experience as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13870663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1200x785.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1920x1256.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BFF’s Scorpius Malfoy (Jon Steiger) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What did you think of the acting?\u003c/strong>\u003c/p>\n\u003cp>I think the actor who plays Scorpius Malfoy (Jon Steiger) does a really good job.\u003c/p>\n\u003cp>\u003cstrong>I agree, he makes you really feel for the character. What do you think of Scorpius as a character? He seems very different than any of the characters that we’re used to from the books.\u003c/strong>\u003c/p>\n\u003cp>I like how he represents how you don’t have to be evil to be Slytherin. He kind of shows that just because he is Draco’s son doesn’t mean he’s mean, or that he \u003cem>wants\u003c/em> to be a Malfoy. Just like Albus doesn’t want to be Harry Potter’s son….But after he comes back (from the time-travel altered world), he is braver. He sort of helps to lead Albus, instead of him following.\u003c/p>\n\u003cp>\u003cstrong>What other acting stands out for you?\u003c/strong>\u003c/p>\n\u003cp>I think the actor of Ginny Potter (Angela Reed) stands out really well, and also all of the actors that are \u003cem>meant\u003c/em> to stand out. Especially Delphi Diggory (Emily Juliette Murphy) and Moaning Myrtle (Brittany Zeinstra).\u003c/p>\n\u003cfigure id=\"attachment_13870661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ginny Potter (Angela Reed), Harry Potter (John Skelley), Professor McGonagal (Shannon Cochran), and Draco Malfoy (Lucas Hall) search for clues. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are there any characters that you see yourself in, or that you identify with or feel really connected to?\u003c/strong>\u003c/p>\n\u003cp>Maybe Ginny Potter. Because she’s kind of what Gryffindor is. She’s friendly. She has courage. I’m friendly and I have courage. And she has friends, and she likes being who she is!\u003c/p>\n\u003cp>\u003cstrong>Do you think there’s a message to \u003cem>Harry Potter and the Cursed Child\u003c/em>? Is there something we should be learning from it?\u003c/strong>\u003c/p>\n\u003cp>They did bring up that “love blinds you,” a lot. So I guess it’s about finding the true meaning in somebody, rather than what you think they are.\u003c/p>\n\u003cp>\u003cstrong>Would you recommend this play?\u003c/strong>\u003c/p>\n\u003cp>Yes! But you should probably review the books. You just need to know some facts that will be necessary in watching the play so you don’t have a lot of questions.\u003c/p>\n\u003cfigure id=\"attachment_13870665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg\" alt=\"\" width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Love blinds. A father-son moment with Harry Potter (John Skelley) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For both of us, Jon Steiger as Scorpius definitely stood out, as a character who undergoes one of the biggest personal evolutions. I also appreciated the jokey, guileless nature of Ron Weasley (David Abeles), the steadfast accountability of Hermione Granger (Yanna McIntosh), and the complementary brusqueness of Draco Malfoy (Lucas Hall) and Professor McGonagall (Shannon Cochran). Although I didn’t always get an at-odds, father-son vibe from the actors who play Harry Potter and Albus Potter (John Skelley and Benjamin Papac), Papac’s BFF connection to Steiger was a delight.\u003c/p>\n\u003cp>As Juliana mentioned, a central theme in the play is that of love, informing even the play’s darkest characters, and bringing everyone’s deepest fears and boldest choices into the light. Occasionally, the many speeches about the powers and pitfalls of love hinder rather than drive the action onstage, and there are definitely scenes that seem superfluous, even maudlin, in this regard. I wouldn’t have understood the details of the historic Triwizard Cup debacle without my tour guide, and those five-plus hours of stage time are a pretty big ask for a fair-weather fan. But the audacious theatricality of \u003cem>Harry Potter and the Cursed Child\u003c/em> does create a real opportunity to turn a new generation onto the magic of live performance, one Polyjuice potion and levitating Dementor at a time.\u003c/p>\n\u003cfigure id=\"attachment_13870667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg\" alt=\"\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1200x773.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1920x1236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t forget to brush up on your Triwizard Cup knowledge before the show. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Tickets for ‘Harry Potter and the Cursed Child’ at the Curran Theatre in San Francisco are currently available through June 2020. \u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Our guest reviewer Juliana Greco is 12 years old, a proud Gryffindor, and has plenty to say about 'Harry Potter and the Cursed Child' at the Curran Theatre.",
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"description": "Our guest reviewer Juliana Greco is 12 years old, a proud Gryffindor, and has plenty to say about 'Harry Potter and the Cursed Child' at the Curran Theatre.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After more than a month of previews, \u003cem>Harry Potter and the Cursed Child \u003c/em>opened at the Curran Theatre with a Sunday marathon of both Parts One and Two—over five hours of wizardly drama and human emotion.\u003c/p>\n\u003cp>Beyond the first few books, my knowledge of Harry Potter lore is woefully minimal. So I brought a guide. Juliana Greco is 12 years old, and a proud Gryffindor. She first read the entire series of Harry Potter books when she was eight, has seen all the movies, and even went to a midnight book release party for the published script of \u003cem>Harry Potter and the Cursed Child\u003c/em> in 2016. Plus, she went to the very first preview performance of \u003cem>Harry Potter and the Cursed Child\u003c/em> back in October. Besides \u003cem>The Nutcracker\u003c/em> at the San Francisco Ballet, this wildly inventive, epic production is her first play.\u003c/p>\n\u003cfigure id=\"attachment_13870658\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870658\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern-.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My tour guide to all things Harry Potter, guest critic Juliana Greco. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: What’s something you noticed this time around that you hadn’t noticed before (during the preview performance)?\u003c/strong>\u003c/p>\n\u003cp>Juliana Greco: They use suitcases a lot, as props. They sat on the suitcases in the Hogwarts Express, and then they used them stacked for the top of the train, and then they walked out with the suitcases while they put things on the stage, to distract us.\u003c/p>\n\u003cfigure id=\"attachment_13870668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suitcase-train car, with Katherine Leask, Benjamin Papac, and Jon Steiger. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>That’s a really good observation. They use them as tombstones too, I noticed. What’s another?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lighting. I noticed that in different scenes it’s lighter or darker…like the forbidden forest and the lake need to be darker, but they still put small spotlights on the people so we could see them. And then in later scenes, like at Hogwarts, or the Ministry of Magic, you would need more light.\u003c/p>\n\u003cp>\u003cstrong>I thought the lighting (designed by Neil Austin) was \u003cem>very\u003c/em> well done. As long as we’re talking about lights, how did the sound affect you? What did you think about it?\u003c/strong>\u003c/p>\n\u003cp>I liked the sound, because it kind of helped make it more magical, and make the effects seem like they had sounds…The music is there to \u003cem>feel\u003c/em> it, so you don’t just hear talking, but you can feel what they feel as their characters…like maybe they’re sad or there’s something they’re realizing.\u003c/p>\n\u003cfigure id=\"attachment_13870666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A perfect lighting moment in an alternate, totalitarian universe. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s a favorite magic trick that you saw in the play?\u003c/strong>\u003c/p>\n\u003cp>I think the time-turner, because it brings them back in time. And that wavy movement on the stage, as if time is rippling back, is really magical.\u003c/p>\n\u003cp>\u003cstrong>It’s pretty cool. I don’t think I’ve seen something like that on a stage before.\u003c/strong>\u003c/p>\n\u003cp>Also, the sound makes it feel like it’s vibrating, which makes you feel like you’re vibrating.\u003c/p>\n\u003cp>\u003cstrong>Yeah, like \u003cem>you’re \u003c/em>going back in time.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13870662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A magic bookcase is one of the many, inventive effects in Harry Potter and the Cursed Child. With Yanna McIntosh, David Abeles, and John Skelley. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production design was indeed a highlight. Although the musical score penned by alt-rocker Imogen Heap struck me in places as being overly cinematic, as Juliana noted, the sound design by Gareth Fry lent veracity to the magic effects. The lighting shouldered much of the burden of shifting time and place, in a palette that encompassed the warm glow of a family home, the aquatic blues of a dazzling underwater sequence, and the harsh vision of a totalitarian alternate reality. Meanwhile, the magical staging offered just the right balance between humor and wonder (illusions and magic by Jamie Harrison, bolstered by key video projections by Finn Ross and Ash J. Woodward). Startling, immersive flourishes beyond the elaborately arched set (Christine Jones), such as the Hogwarts carpeting and wallpaper adorning the Curran, and occasional breaks in the fourth wall added greatly to the experience as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13870663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1200x785.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1920x1256.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BFF’s Scorpius Malfoy (Jon Steiger) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What did you think of the acting?\u003c/strong>\u003c/p>\n\u003cp>I think the actor who plays Scorpius Malfoy (Jon Steiger) does a really good job.\u003c/p>\n\u003cp>\u003cstrong>I agree, he makes you really feel for the character. What do you think of Scorpius as a character? He seems very different than any of the characters that we’re used to from the books.\u003c/strong>\u003c/p>\n\u003cp>I like how he represents how you don’t have to be evil to be Slytherin. He kind of shows that just because he is Draco’s son doesn’t mean he’s mean, or that he \u003cem>wants\u003c/em> to be a Malfoy. Just like Albus doesn’t want to be Harry Potter’s son….But after he comes back (from the time-travel altered world), he is braver. He sort of helps to lead Albus, instead of him following.\u003c/p>\n\u003cp>\u003cstrong>What other acting stands out for you?\u003c/strong>\u003c/p>\n\u003cp>I think the actor of Ginny Potter (Angela Reed) stands out really well, and also all of the actors that are \u003cem>meant\u003c/em> to stand out. Especially Delphi Diggory (Emily Juliette Murphy) and Moaning Myrtle (Brittany Zeinstra).\u003c/p>\n\u003cfigure id=\"attachment_13870661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ginny Potter (Angela Reed), Harry Potter (John Skelley), Professor McGonagal (Shannon Cochran), and Draco Malfoy (Lucas Hall) search for clues. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are there any characters that you see yourself in, or that you identify with or feel really connected to?\u003c/strong>\u003c/p>\n\u003cp>Maybe Ginny Potter. Because she’s kind of what Gryffindor is. She’s friendly. She has courage. I’m friendly and I have courage. And she has friends, and she likes being who she is!\u003c/p>\n\u003cp>\u003cstrong>Do you think there’s a message to \u003cem>Harry Potter and the Cursed Child\u003c/em>? Is there something we should be learning from it?\u003c/strong>\u003c/p>\n\u003cp>They did bring up that “love blinds you,” a lot. So I guess it’s about finding the true meaning in somebody, rather than what you think they are.\u003c/p>\n\u003cp>\u003cstrong>Would you recommend this play?\u003c/strong>\u003c/p>\n\u003cp>Yes! But you should probably review the books. You just need to know some facts that will be necessary in watching the play so you don’t have a lot of questions.\u003c/p>\n\u003cfigure id=\"attachment_13870665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg\" alt=\"\" width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Love blinds. A father-son moment with Harry Potter (John Skelley) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For both of us, Jon Steiger as Scorpius definitely stood out, as a character who undergoes one of the biggest personal evolutions. I also appreciated the jokey, guileless nature of Ron Weasley (David Abeles), the steadfast accountability of Hermione Granger (Yanna McIntosh), and the complementary brusqueness of Draco Malfoy (Lucas Hall) and Professor McGonagall (Shannon Cochran). Although I didn’t always get an at-odds, father-son vibe from the actors who play Harry Potter and Albus Potter (John Skelley and Benjamin Papac), Papac’s BFF connection to Steiger was a delight.\u003c/p>\n\u003cp>As Juliana mentioned, a central theme in the play is that of love, informing even the play’s darkest characters, and bringing everyone’s deepest fears and boldest choices into the light. Occasionally, the many speeches about the powers and pitfalls of love hinder rather than drive the action onstage, and there are definitely scenes that seem superfluous, even maudlin, in this regard. I wouldn’t have understood the details of the historic Triwizard Cup debacle without my tour guide, and those five-plus hours of stage time are a pretty big ask for a fair-weather fan. But the audacious theatricality of \u003cem>Harry Potter and the Cursed Child\u003c/em> does create a real opportunity to turn a new generation onto the magic of live performance, one Polyjuice potion and levitating Dementor at a time.\u003c/p>\n\u003cfigure id=\"attachment_13870667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg\" alt=\"\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1200x773.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1920x1236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t forget to brush up on your Triwizard Cup knowledge before the show. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Tickets for ‘Harry Potter and the Cursed Child’ at the Curran Theatre in San Francisco are currently available through June 2020. \u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s the 50th anniversary of \u003cem>Sesame Street\u003c/em>‘s debut this month, and to celebrate, we dug deep in our archives here at KQED—\u003cem>really\u003c/em> deep.\u003c/p>\n\u003cp>In 1969, it turns out, a special \u003cem>Sesame Street\u003c/em>-decorated Jeep was employed to promote the new children’s television show. Watch in our archival footage above as it drives through the streets of San Francisco, down Van Ness and along the Marina, turning heads and getting the word out about \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>Kids might not have known the show yet, but they certainly reacted to the colorful car driving though the city, crowding around with gleeful excitement. It was the beginning, clearly, of something special.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the 50th anniversary of \u003cem>Sesame Street\u003c/em>‘s debut this month, and to celebrate, we dug deep in our archives here at KQED—\u003cem>really\u003c/em> deep.\u003c/p>\n\u003cp>In 1969, it turns out, a special \u003cem>Sesame Street\u003c/em>-decorated Jeep was employed to promote the new children’s television show. Watch in our archival footage above as it drives through the streets of San Francisco, down Van Ness and along the Marina, turning heads and getting the word out about \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>Kids might not have known the show yet, but they certainly reacted to the colorful car driving though the city, crowding around with gleeful excitement. It was the beginning, clearly, of something special.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Kari Orvik’s Tightly Focused ‘Geneva’ Captures Daily Life in the Excelsior",
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"content": "\u003cp>It’s a 20-minute bus ride south from the hubbub of 16th and Mission to San Francisco’s Excelsior neighborhood. Far from the city’s bustling downtown, the sky opens wide over low-slung buildings and homes in one of San Francisco’s last neighborhoods to be touched by gentrification. It’s here, at the corner of Geneva Avenue and Mission Street, that photographer Kari Orvik maintains her tintype studio.\u003c/p>\n\u003cp>From this prime vantage point, Orvik witnesses the pulsing activity of her intersection and the surrounding neighborhood, scenes captured in wet plate collodion images on metal, glass and acrylic; color and digital prints; and landscapes. \u003ca href=\"https://sfcamerawork.org/kari-orvik-geneva\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Geneva\u003c/i>\u003c/a>, now on view at SF Camerawork, offers a poetic interpretation of place against a backdrop of sweeping urban change.\u003c/p>\n\u003cp>As a visual document, \u003cem>Geneva\u003c/em> calls up Janet Delaney’s \u003ca href=\"https://www.sfmoma.org/artist/janet_delaney/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>South of Market\u003c/em>\u003c/a> series, shot between 1978 and 1986. Both projects convey a sense of San Francisco in flux, but Orvik’s take is more nuanced. Delaney’s project registers SoMa’s transformation from small businesses and low-to-middle-income housing to the city’s cultural hub. Meanwhile, the images comprising \u003cem>Geneva\u003c/em> capture quotidian moments and encounters, conveying Orvik’s evident affection for the neighbors who inhabit her landscape day-to-day. Through these images, we are encouraged to temporarily suspend thoughts of gentrification and how it is changing San Francisco, and appreciate who and what it is in the moment.\u003c/p>\n\u003cfigure id=\"attachment_13870092\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/13KariOrvikGenevaTonyMaria_1200.jpg\" alt=\"In a photographic diptych, an older couple stands outside a watch and jewelry repair shop.\" width=\"1200\" height=\"918\" class=\"size-full wp-image-13870092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/13KariOrvikGenevaTonyMaria_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/13KariOrvikGenevaTonyMaria_1200-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/13KariOrvikGenevaTonyMaria_1200-800x612.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/13KariOrvikGenevaTonyMaria_1200-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/13KariOrvikGenevaTonyMaria_1200-1020x780.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kari Orvik, ‘Tony and Maria, Tony’s watch and jewelry repair,’ 2015. \u003ccite>(Courtesy the artist and SF Camerawork)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The “who” and “what” Orvik captures form a rich visual tapestry. They are Tony, the watch-and-jewelry repairman, who stands with his wife Maria in front of their shop. The four-part tintype \u003cem>Keep #2 (Tony’s pins)\u003c/em> (2015), which hangs opposite a diptych portrait of Tony and Maria, evokes the mechanical details and intimacy of his work.\u003c/p>\n\u003cp>The who of \u003ci>Geneva\u003c/i> is also Kristian, young and humming with potential energy, the only one who pays attention to Orvik’s camera amidst a crowd of people gathered at a nearby bus stop. It is Dominic, who assisted the artist in her studio before pursuing photography at City College. And it is Millie, who we see in a tintype portrait filtered through cool blue acrylic, and in a pigment print that captures her at work behind the counter at the Dark Horse Inn. \u003c/p>\n\u003cp>The latter has a composition so beautifully moody it evokes \u003ca href=\"https://www.artic.edu/artworks/111628/nighthawks\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Nighthawks\u003c/i>\u003c/a>, Edward Hopper’s 1942 masterpiece. The two portraits of Millie demonstrate Orvik’s commitment to her subjects; her keen understanding of these individuals determines which photographic process (among the many at her disposal) will best portray a scene or a sitter at a given moment.\u003c/p>\n\u003cfigure id=\"attachment_13870088\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/01KariOrvikGeneva01_1200.jpg\" alt=\"A round, blue-tinted photograph of the corer of Mission St. and Geneva Avenue in the Excelsior neighborhood of San Francisco.\" width=\"1200\" height=\"1188\" class=\"size-full wp-image-13870088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/01KariOrvikGeneva01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/01KariOrvikGeneva01_1200-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/01KariOrvikGeneva01_1200-800x792.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/01KariOrvikGeneva01_1200-768x760.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/01KariOrvikGeneva01_1200-1020x1010.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kari Orvik, ‘Corner of Mission St. and Geneva Avenue,’ 2016. \u003ccite>(Courtesy of the artist and SF Camerawork)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The moments captured in \u003cem>Geneva\u003c/em> span the last five years. The show, a retrospective of sorts, visualizes Orvik’s interests beyond the tintype process, many of which she explored during her 2018 \u003ca href=\"https://www.recology.com/recology_artist/kari-orvik/\" target=\"_blank\" rel=\"noopener noreferrer\">residency at Recology\u003c/a>: how photographs are made, and how memory is affected through that making. Many of the images in \u003ci>Geneva\u003c/i> appear unrelated at first glance: visual cues such as uniform framing and images hung in single rows are abandoned in favor of a less rigidly structured presentation. Hung above and below the standard 60-inch mark, the images evoke a satisfying stream-of-consciousness approach.\u003c/p>\n\u003cp>When I spoke with Orvik, she identified community participation as a fundamental aspect of this work. Too often, she rightly notes, the people immediately affected by gentrification are spoken \u003cem>about\u003c/em> rather than spoken \u003ci>to\u003c/i>, their own experiences sidelined by the presumptions of others. Orvik’s focus on Excelsior residents visually foregrounds experiences other than her own, capturing a resilience that momentarily arrests thoughts of what may be lost if long-time residents are pushed out.\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>\u003ci>‘Kari Orvik: Geneva’ is on view at SF Camerawork through Dec. 20. \u003ca href=\"https://sfcamerawork.org/kari-orvik-geneva\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a 20-minute bus ride south from the hubbub of 16th and Mission to San Francisco’s Excelsior neighborhood. Far from the city’s bustling downtown, the sky opens wide over low-slung buildings and homes in one of San Francisco’s last neighborhoods to be touched by gentrification. It’s here, at the corner of Geneva Avenue and Mission Street, that photographer Kari Orvik maintains her tintype studio.\u003c/p>\n\u003cp>From this prime vantage point, Orvik witnesses the pulsing activity of her intersection and the surrounding neighborhood, scenes captured in wet plate collodion images on metal, glass and acrylic; color and digital prints; and landscapes. \u003ca href=\"https://sfcamerawork.org/kari-orvik-geneva\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Geneva\u003c/i>\u003c/a>, now on view at SF Camerawork, offers a poetic interpretation of place against a backdrop of sweeping urban change.\u003c/p>\n\u003cp>As a visual document, \u003cem>Geneva\u003c/em> calls up Janet Delaney’s \u003ca href=\"https://www.sfmoma.org/artist/janet_delaney/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>South of Market\u003c/em>\u003c/a> series, shot between 1978 and 1986. Both projects convey a sense of San Francisco in flux, but Orvik’s take is more nuanced. Delaney’s project registers SoMa’s transformation from small businesses and low-to-middle-income housing to the city’s cultural hub. Meanwhile, the images comprising \u003cem>Geneva\u003c/em> capture quotidian moments and encounters, conveying Orvik’s evident affection for the neighbors who inhabit her landscape day-to-day. Through these images, we are encouraged to temporarily suspend thoughts of gentrification and how it is changing San Francisco, and appreciate who and what it is in the moment.\u003c/p>\n\u003cfigure id=\"attachment_13870092\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/13KariOrvikGenevaTonyMaria_1200.jpg\" alt=\"In a photographic diptych, an older couple stands outside a watch and jewelry repair shop.\" width=\"1200\" height=\"918\" class=\"size-full wp-image-13870092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/13KariOrvikGenevaTonyMaria_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/13KariOrvikGenevaTonyMaria_1200-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/13KariOrvikGenevaTonyMaria_1200-800x612.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/13KariOrvikGenevaTonyMaria_1200-768x588.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/13KariOrvikGenevaTonyMaria_1200-1020x780.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kari Orvik, ‘Tony and Maria, Tony’s watch and jewelry repair,’ 2015. \u003ccite>(Courtesy the artist and SF Camerawork)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The “who” and “what” Orvik captures form a rich visual tapestry. They are Tony, the watch-and-jewelry repairman, who stands with his wife Maria in front of their shop. The four-part tintype \u003cem>Keep #2 (Tony’s pins)\u003c/em> (2015), which hangs opposite a diptych portrait of Tony and Maria, evokes the mechanical details and intimacy of his work.\u003c/p>\n\u003cp>The who of \u003ci>Geneva\u003c/i> is also Kristian, young and humming with potential energy, the only one who pays attention to Orvik’s camera amidst a crowd of people gathered at a nearby bus stop. It is Dominic, who assisted the artist in her studio before pursuing photography at City College. And it is Millie, who we see in a tintype portrait filtered through cool blue acrylic, and in a pigment print that captures her at work behind the counter at the Dark Horse Inn. \u003c/p>\n\u003cp>The latter has a composition so beautifully moody it evokes \u003ca href=\"https://www.artic.edu/artworks/111628/nighthawks\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Nighthawks\u003c/i>\u003c/a>, Edward Hopper’s 1942 masterpiece. The two portraits of Millie demonstrate Orvik’s commitment to her subjects; her keen understanding of these individuals determines which photographic process (among the many at her disposal) will best portray a scene or a sitter at a given moment.\u003c/p>\n\u003cfigure id=\"attachment_13870088\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/01KariOrvikGeneva01_1200.jpg\" alt=\"A round, blue-tinted photograph of the corer of Mission St. and Geneva Avenue in the Excelsior neighborhood of San Francisco.\" width=\"1200\" height=\"1188\" class=\"size-full wp-image-13870088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/01KariOrvikGeneva01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/01KariOrvikGeneva01_1200-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/01KariOrvikGeneva01_1200-800x792.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/01KariOrvikGeneva01_1200-768x760.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/01KariOrvikGeneva01_1200-1020x1010.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kari Orvik, ‘Corner of Mission St. and Geneva Avenue,’ 2016. \u003ccite>(Courtesy of the artist and SF Camerawork)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The moments captured in \u003cem>Geneva\u003c/em> span the last five years. The show, a retrospective of sorts, visualizes Orvik’s interests beyond the tintype process, many of which she explored during her 2018 \u003ca href=\"https://www.recology.com/recology_artist/kari-orvik/\" target=\"_blank\" rel=\"noopener noreferrer\">residency at Recology\u003c/a>: how photographs are made, and how memory is affected through that making. Many of the images in \u003ci>Geneva\u003c/i> appear unrelated at first glance: visual cues such as uniform framing and images hung in single rows are abandoned in favor of a less rigidly structured presentation. Hung above and below the standard 60-inch mark, the images evoke a satisfying stream-of-consciousness approach.\u003c/p>\n\u003cp>When I spoke with Orvik, she identified community participation as a fundamental aspect of this work. Too often, she rightly notes, the people immediately affected by gentrification are spoken \u003cem>about\u003c/em> rather than spoken \u003ci>to\u003c/i>, their own experiences sidelined by the presumptions of others. Orvik’s focus on Excelsior residents visually foregrounds experiences other than her own, capturing a resilience that momentarily arrests thoughts of what may be lost if long-time residents are pushed out.\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>\u003ci>‘Kari Orvik: Geneva’ is on view at SF Camerawork through Dec. 20. \u003ca href=\"https://sfcamerawork.org/kari-orvik-geneva\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Uh-oh, it’s that time of year again: the point after Halloween when you get all focused on planning your Thanksgiving travel, and forget entirely about that festive section of December when you’re supposed to actually give people stuff.\u003c/p>\n\u003cp>A lot of us run this routine annually. Luckily, some of us have gotten rescued by \u003ca href=\"https://www.renegadecraft.com/\" target=\"_blank\" rel=\"noopener\">Renegade Craft Fair\u003c/a> year-in, year-out, since it first arrived in San Francisco. (Renegade was founded in Chicago in 2003, but now takes place twice a year in 11 American cities.)\u003c/p>\n\u003cp>Not only is the winter fair a one-stop seasonal shop, it covers all the best gift bases—jewelry, beauty, decor, fashion, toys, art, candy—and does it in a style that feels warm and personal. That’s thanks to the independent thinkers who hand-make all of the contemporary crafts on offer. Think of it as \u003ca href=\"https://www.etsy.com/\" target=\"_blank\" rel=\"noopener\">Etsy\u003c/a> IRL, minus shipping delays, plus bonus food trucks.\u003c/p>\n\u003cp>Renegade San Francisco now attracts 200+ creatives and 17,500 visitors per fair. Here’s a taste of last year’s event, which helps demonstrate why it’s so enduringly popular. (And yes, those \u003cem>are\u003c/em> porcelain butt vases.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-pcrGEXnKn4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Uh-oh, it’s that time of year again: the point after Halloween when you get all focused on planning your Thanksgiving travel, and forget entirely about that festive section of December when you’re supposed to actually give people stuff.\u003c/p>\n\u003cp>A lot of us run this routine annually. Luckily, some of us have gotten rescued by \u003ca href=\"https://www.renegadecraft.com/\" target=\"_blank\" rel=\"noopener\">Renegade Craft Fair\u003c/a> year-in, year-out, since it first arrived in San Francisco. (Renegade was founded in Chicago in 2003, but now takes place twice a year in 11 American cities.)\u003c/p>\n\u003cp>Not only is the winter fair a one-stop seasonal shop, it covers all the best gift bases—jewelry, beauty, decor, fashion, toys, art, candy—and does it in a style that feels warm and personal. That’s thanks to the independent thinkers who hand-make all of the contemporary crafts on offer. Think of it as \u003ca href=\"https://www.etsy.com/\" target=\"_blank\" rel=\"noopener\">Etsy\u003c/a> IRL, minus shipping delays, plus bonus food trucks.\u003c/p>\n\u003cp>Renegade San Francisco now attracts 200+ creatives and 17,500 visitors per fair. Here’s a taste of last year’s event, which helps demonstrate why it’s so enduringly popular. (And yes, those \u003cem>are\u003c/em> porcelain butt vases.)\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/-pcrGEXnKn4'\n title='//www.youtube.com/embed/-pcrGEXnKn4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It may have been eight years since Beyoncé first declared, \u003cem>“\u003ca href=\"https://www.youtube.com/watch?v=VBmMU_iwe6U\" target=\"_blank\" rel=\"noopener\">Who run the world? Girls!\u003c/a>“\u003c/em> but global statistics firmly demonstrate the opposite. In 2018, only 24 CEOs on \u003cem>Fortune\u003c/em>‘s annual \u003ca href=\"https://www.cnbc.com/2018/05/21/2018s-fortune-500-companies-have-just-24-female-ceos.html\" target=\"_blank\" rel=\"noopener\">500 list\u003c/a> were female. Though there are more female senators than ever before, \u003ca href=\"https://cawp.rutgers.edu/current-numbers\" target=\"_blank\" rel=\"noopener\">76% of Congress\u003c/a> is still male. Earlier this year, the first all-female \u003ca href=\"https://www.theatlantic.com/science/archive/2019/03/nasa-spacesuit-women-spacewalk/585805/\" target=\"_blank\" rel=\"noopener\">spacewalk was canceled\u003c/a> because the International Space Station didn’t have enough space suits for women.\u003c/p>\n\u003cp>The fourth annual WorldWideWomen Girls’ Festival aims to address these kinds of imbalances early with over 100 workshops, mentoring sessions and performances specifically designed to prep girls for the road to reach their goals, no matter what challenges might arise. Held on Nov. 9 at the Palace of Fine Arts, the festival includes STEM training, advice from female professionals and athletes, an interactive expo, a wide range of workshops, and even a “gentle” \u003cem>Shark Tank\u003c/em>-style “\u003ca href=\"https://worldwidewomengirlsfestival.org/girls-festival/program/17/girlpreneur-competition-2\" target=\"_blank\" rel=\"noopener\">Girlpreneur\u003c/a>” competition with a first place prize of $1,000.\u003c/p>\n\u003cp>The day-long event isn’t all business, though—there will also be a fashion show, a range of music and dance performances, a slam poetry contest, self-defense classes and an obstacle course set up by the \u003ca href=\"http://ufsw.org/\" target=\"_blank\" rel=\"noopener\">United Fire Service Women\u003c/a>. You can also get your retail fix with 35 pop-up shops, plus a marketplace of services and products from female-owned businesses.\u003c/p>\n\u003cp>Speaking at last year’s festival, Maureen Broderick, founder and CEO of \u003ca href=\"https://www.youtube.com/watch?v=IPbqBbRSWic\" target=\"_blank\" rel=\"noopener\">WorldWide Women\u003c/a>, summed up what she hoped attendees would get from the event. “I want them to take away connections,” she said. “I want them to take away possibilities and excitement and ‘Oh my gosh, I like technology,’ ‘I like science,’ ‘I want to be a filmmaker,’ ‘I want to be an entrepreneur.’ I want them to take away all the possibilities.”\u003c/p>\n\u003cp>You can see more of what went on at last year’s festival in the video below.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IPbqBbRSWic\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It may have been eight years since Beyoncé first declared, \u003cem>“\u003ca href=\"https://www.youtube.com/watch?v=VBmMU_iwe6U\" target=\"_blank\" rel=\"noopener\">Who run the world? Girls!\u003c/a>“\u003c/em> but global statistics firmly demonstrate the opposite. In 2018, only 24 CEOs on \u003cem>Fortune\u003c/em>‘s annual \u003ca href=\"https://www.cnbc.com/2018/05/21/2018s-fortune-500-companies-have-just-24-female-ceos.html\" target=\"_blank\" rel=\"noopener\">500 list\u003c/a> were female. Though there are more female senators than ever before, \u003ca href=\"https://cawp.rutgers.edu/current-numbers\" target=\"_blank\" rel=\"noopener\">76% of Congress\u003c/a> is still male. Earlier this year, the first all-female \u003ca href=\"https://www.theatlantic.com/science/archive/2019/03/nasa-spacesuit-women-spacewalk/585805/\" target=\"_blank\" rel=\"noopener\">spacewalk was canceled\u003c/a> because the International Space Station didn’t have enough space suits for women.\u003c/p>\n\u003cp>The fourth annual WorldWideWomen Girls’ Festival aims to address these kinds of imbalances early with over 100 workshops, mentoring sessions and performances specifically designed to prep girls for the road to reach their goals, no matter what challenges might arise. Held on Nov. 9 at the Palace of Fine Arts, the festival includes STEM training, advice from female professionals and athletes, an interactive expo, a wide range of workshops, and even a “gentle” \u003cem>Shark Tank\u003c/em>-style “\u003ca href=\"https://worldwidewomengirlsfestival.org/girls-festival/program/17/girlpreneur-competition-2\" target=\"_blank\" rel=\"noopener\">Girlpreneur\u003c/a>” competition with a first place prize of $1,000.\u003c/p>\n\u003cp>The day-long event isn’t all business, though—there will also be a fashion show, a range of music and dance performances, a slam poetry contest, self-defense classes and an obstacle course set up by the \u003ca href=\"http://ufsw.org/\" target=\"_blank\" rel=\"noopener\">United Fire Service Women\u003c/a>. You can also get your retail fix with 35 pop-up shops, plus a marketplace of services and products from female-owned businesses.\u003c/p>\n\u003cp>Speaking at last year’s festival, Maureen Broderick, founder and CEO of \u003ca href=\"https://www.youtube.com/watch?v=IPbqBbRSWic\" target=\"_blank\" rel=\"noopener\">WorldWide Women\u003c/a>, summed up what she hoped attendees would get from the event. “I want them to take away connections,” she said. “I want them to take away possibilities and excitement and ‘Oh my gosh, I like technology,’ ‘I like science,’ ‘I want to be a filmmaker,’ ‘I want to be an entrepreneur.’ I want them to take away all the possibilities.”\u003c/p>\n\u003cp>You can see more of what went on at last year’s festival in the video below.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The night of Matt Savitsky’s opening at \u003ca href=\"https://cloacaprojects.com/pleasureground/\" target=\"_blank\" rel=\"noopener\">Cloaca Projects\u003c/a>, the crowd divided itself into two factions: those who knew the song and those who didn’t know the song.\u003c/p>\n\u003cp>“Do \u003ci>you\u003c/i> know this song?” someone asked me the moment I stepped inside the show—or to be more precise, into a plywood barn-like extension cantilevered out from the project space’s metal facade.\u003c/p>\n\u003cp>I listened. “No?”\u003c/p>\n\u003cp>The song, sung in two different keys by a woman seen in two video projections facing each other, plays as a round in a piece titled \u003ci>Crop Circles\u003c/i>. But the two overlapping melodies sometimes clash atonally, hauntingly, making it even harder to pin down.\u003c/p>\n\u003cp>The effect is disorienting, compounded by the video’s visuals: In both projections, the singer walks in a circle in an open field, but she is seen only in the reflection of a rectangular mirror with beveled corners. Someone else’s legs appear walking behind the mirror, and the camera tracks it all. A full explanation of the apparatus that enables this slowly spinning shot isn’t concealed; it’s right there in the show’s takeaway exhibition text, along with the revelation that the singer is Savitsky’s sister, a vocalist and music educator. All the work in \u003ci>The Pleasure Ground\u003c/i> was made during a self-created residency in the artist’s hometown of Lancaster, Pennsylvania.\u003c/p>\n\u003cfigure id=\"attachment_13867066\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/thepleasureground-6_1200.jpg\" alt=\"Matt Savitsky, Installation view of 'Crop Circles,' 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-6_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-6_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-6_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-6_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Matt Savitsky, Installation view of ‘Crop Circles,’ 2019. \u003ccite>(Photo by Andreas Tagger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As I wrapped my head around the camera, wooden axle, mirror, and brother-and-sister arrangement that went into making \u003ci>Crop Circles\u003c/i>, the song finally clicked.\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=9EO8p7QiwdY\" target=\"_blank\" rel=\"noopener\">Simple Gifts\u003c/a>,” a Shaker hymn written in 1848 by Joseph Brackett, is a one-verse song about finding one’s place, gaining true simplicity—and entering “the valley of love and delight.” I learned it as a child, whether at church or school or from my parents, I can’t say; the lyrics are lodged deep. It ends: “To turn, turn will be our delight / Till by turning, turning we come ’round right.”\u003c/p>\n\u003cp>Deeper inside Cloaca Projects’ now extended space, behind \u003ci>Crop Circles\u003c/i>, Savitsy’s second piece also goes round and round, this time silently. \u003ci>Turn Bridge\u003c/i> initially looks like a giant cube, roughly constructed of wood, foam board and foam. A small projector sits on top, casting a video onto the back wall of the gallery—this time of a landscape viewed through the tunnel of a covered bridge (the opening a now-familiar shape of a rectangle with beveled corners). The bridge seems to spin, providing a sweeping view of fields, barns, fences and trees.\u003c/p>\n\u003cp>But why would a bridge turn? I entertained a number of ideas, all of which made some kind of sense to my puzzled brain when I initially viewed the piece from afar. Maybe it’s a bridge suspended over a shipping channel, turning to provide passage (like the 1976 Richard Serra film \u003ci>\u003ca href=\"http://www.ubu.com/film/serra_turnbridge.html\" target=\"_blank\" rel=\"noopener\">Railroad Turnbridge\u003c/a>\u003c/i> referenced in the exhibition text). Maybe it’s a covered bridge in transit—on a flatbed truck—and we’re watching the landscape fly by.\u003c/p>\n\u003cfigure id=\"attachment_13867067\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867067\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/thepleasureground-9_1200.jpg\" alt=\"Matt Savitsky, installation view of 'Turn Bridge,' 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-9_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Matt Savitsky, installation view of ‘Turn Bridge,’ 2019. \u003ccite>(Photo by Andreas Tagger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such speculations are quickly quashed by a thin gap along one side of the cube’s foam top. This strip of light in the otherwise darkened space lets visitors peer into \u003ci>Turn Bridge\u003c/i>’s inner workings. If the mechanism of \u003ci>Crop Circles\u003c/i>’ making is slightly opaque, and requires some reading (or question-asking) to understand, \u003ci>Turn Bridge\u003c/i> is fully transparent. The view through that gap is so delightful, and so mesmerizing, I can’t in good conscience spoil it here. Suffice it to say: something is happening inside the box that reveals the projected video is not a preexisting recording.\u003c/p>\n\u003cp>All that turning, and the sound of Savitsky’s sister singing with herself, is a bit dizzying in the contained space of \u003ci>The Pleasure Ground\u003c/i>. (The title seems to be a reference to a style of \u003ca href=\"https://en.wikipedia.org/wiki/Pleasure_ground\" target=\"_blank\" rel=\"noopener\">English landscaping\u003c/a> that emphasizes artistic elements over natural ones.) It fits—there’s plenty of pleasure to be had in Savitsky’s installation, which emphasizes a dreamy, highly personal depiction of Lancaster’s environs over a dispassionate or documentary view. But in addition to pleasure, there’s also the slightly sick feeling that comes from too much of a good thing—like spinning too fast, for too long, until you can’t stand up straight.\u003c/p>\n\u003cp>Warping sights and sounds, Savitsky creates an installation with its own kind of tunnel vision: a looped and circular memory of a specific place. Inside \u003ci>The Pleasure Ground\u003c/i>, Savitsky transfers these memories to Cloaca’s visitors not only through representation, but through vicarious experience. By the end of everyone’s visit, they, too, will know the song.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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>\u003ci>‘The Pleasure Ground’ is on view at Cloaca Projects (1460 Davidson Ave., San Francisco) through Oct. 26, open Saturdays 1–6pm and by appointment. \u003ca href=\"https://cloacaprojects.com/pleasureground/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Matt Savitsky's installation of sculpture and video work draws from the rural sights and sounds of his Pennsylvania hometown. ",
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"title": "At Cloaca Projects, 'The Pleasure Ground' Turns 'Round Right | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The night of Matt Savitsky’s opening at \u003ca href=\"https://cloacaprojects.com/pleasureground/\" target=\"_blank\" rel=\"noopener\">Cloaca Projects\u003c/a>, the crowd divided itself into two factions: those who knew the song and those who didn’t know the song.\u003c/p>\n\u003cp>“Do \u003ci>you\u003c/i> know this song?” someone asked me the moment I stepped inside the show—or to be more precise, into a plywood barn-like extension cantilevered out from the project space’s metal facade.\u003c/p>\n\u003cp>I listened. “No?”\u003c/p>\n\u003cp>The song, sung in two different keys by a woman seen in two video projections facing each other, plays as a round in a piece titled \u003ci>Crop Circles\u003c/i>. But the two overlapping melodies sometimes clash atonally, hauntingly, making it even harder to pin down.\u003c/p>\n\u003cp>The effect is disorienting, compounded by the video’s visuals: In both projections, the singer walks in a circle in an open field, but she is seen only in the reflection of a rectangular mirror with beveled corners. Someone else’s legs appear walking behind the mirror, and the camera tracks it all. A full explanation of the apparatus that enables this slowly spinning shot isn’t concealed; it’s right there in the show’s takeaway exhibition text, along with the revelation that the singer is Savitsky’s sister, a vocalist and music educator. All the work in \u003ci>The Pleasure Ground\u003c/i> was made during a self-created residency in the artist’s hometown of Lancaster, Pennsylvania.\u003c/p>\n\u003cfigure id=\"attachment_13867066\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/thepleasureground-6_1200.jpg\" alt=\"Matt Savitsky, Installation view of 'Crop Circles,' 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-6_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-6_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-6_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-6_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-6_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Matt Savitsky, Installation view of ‘Crop Circles,’ 2019. \u003ccite>(Photo by Andreas Tagger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As I wrapped my head around the camera, wooden axle, mirror, and brother-and-sister arrangement that went into making \u003ci>Crop Circles\u003c/i>, the song finally clicked.\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=9EO8p7QiwdY\" target=\"_blank\" rel=\"noopener\">Simple Gifts\u003c/a>,” a Shaker hymn written in 1848 by Joseph Brackett, is a one-verse song about finding one’s place, gaining true simplicity—and entering “the valley of love and delight.” I learned it as a child, whether at church or school or from my parents, I can’t say; the lyrics are lodged deep. It ends: “To turn, turn will be our delight / Till by turning, turning we come ’round right.”\u003c/p>\n\u003cp>Deeper inside Cloaca Projects’ now extended space, behind \u003ci>Crop Circles\u003c/i>, Savitsy’s second piece also goes round and round, this time silently. \u003ci>Turn Bridge\u003c/i> initially looks like a giant cube, roughly constructed of wood, foam board and foam. A small projector sits on top, casting a video onto the back wall of the gallery—this time of a landscape viewed through the tunnel of a covered bridge (the opening a now-familiar shape of a rectangle with beveled corners). The bridge seems to spin, providing a sweeping view of fields, barns, fences and trees.\u003c/p>\n\u003cp>But why would a bridge turn? I entertained a number of ideas, all of which made some kind of sense to my puzzled brain when I initially viewed the piece from afar. Maybe it’s a bridge suspended over a shipping channel, turning to provide passage (like the 1976 Richard Serra film \u003ci>\u003ca href=\"http://www.ubu.com/film/serra_turnbridge.html\" target=\"_blank\" rel=\"noopener\">Railroad Turnbridge\u003c/a>\u003c/i> referenced in the exhibition text). Maybe it’s a covered bridge in transit—on a flatbed truck—and we’re watching the landscape fly by.\u003c/p>\n\u003cfigure id=\"attachment_13867067\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867067\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/thepleasureground-9_1200.jpg\" alt=\"Matt Savitsky, installation view of 'Turn Bridge,' 2019.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/thepleasureground-9_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Matt Savitsky, installation view of ‘Turn Bridge,’ 2019. \u003ccite>(Photo by Andreas Tagger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such speculations are quickly quashed by a thin gap along one side of the cube’s foam top. This strip of light in the otherwise darkened space lets visitors peer into \u003ci>Turn Bridge\u003c/i>’s inner workings. If the mechanism of \u003ci>Crop Circles\u003c/i>’ making is slightly opaque, and requires some reading (or question-asking) to understand, \u003ci>Turn Bridge\u003c/i> is fully transparent. The view through that gap is so delightful, and so mesmerizing, I can’t in good conscience spoil it here. Suffice it to say: something is happening inside the box that reveals the projected video is not a preexisting recording.\u003c/p>\n\u003cp>All that turning, and the sound of Savitsky’s sister singing with herself, is a bit dizzying in the contained space of \u003ci>The Pleasure Ground\u003c/i>. (The title seems to be a reference to a style of \u003ca href=\"https://en.wikipedia.org/wiki/Pleasure_ground\" target=\"_blank\" rel=\"noopener\">English landscaping\u003c/a> that emphasizes artistic elements over natural ones.) It fits—there’s plenty of pleasure to be had in Savitsky’s installation, which emphasizes a dreamy, highly personal depiction of Lancaster’s environs over a dispassionate or documentary view. But in addition to pleasure, there’s also the slightly sick feeling that comes from too much of a good thing—like spinning too fast, for too long, until you can’t stand up straight.\u003c/p>\n\u003cp>Warping sights and sounds, Savitsky creates an installation with its own kind of tunnel vision: a looped and circular memory of a specific place. Inside \u003ci>The Pleasure Ground\u003c/i>, Savitsky transfers these memories to Cloaca’s visitors not only through representation, but through vicarious experience. By the end of everyone’s visit, they, too, will know the song.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" 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>\u003ci>‘The Pleasure Ground’ is on view at Cloaca Projects (1460 Davidson Ave., San Francisco) through Oct. 26, open Saturdays 1–6pm and by appointment. \u003ca href=\"https://cloacaprojects.com/pleasureground/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "historic-presidio-theatre-reopens-following-40-million-renovation",
"title": "Historic Presidio Theatre Reopens Following $40 Million Renovation",
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"headTitle": "Historic Presidio Theatre Reopens Following $40 Million Renovation | KQED",
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"content": "\u003cp>Following a $40 million dollar face lift, the \u003ca href=\"https://www.presidiotheatre.org\" target=\"_blank\" rel=\"noopener\">Presidio Theatre\u003c/a> in San Francisco is reopening this weekend after decades of neglect and disuse. \u003c/p>\n\u003cp>The venue was built in 1939 as the main social and entertainment hub for military personnel stationed at the Presidio army base, and it has a star-studded past.\u003c/p>\n\u003cp>Around 3,000 people showed up to see comedian and vaudevillian Jack Benny perform there in 1942, and millions more heard the \u003ca href=\"https://bayarearadio.org/audio/jack-benny\" target=\"_blank\" rel=\"noopener\">NBC radio broadcast\u003c/a> across the country and around the world.\u003c/p>\n\u003cfigure id=\"attachment_13866667\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg\" alt=\"Presidio Trust Program Producer Brad Rosenstein\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Presidio Trust Program Producer Brad Rosenstein. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was one of the great performers of his time,” said Presidio Trust program producer Brad Rosenstein of the famed entertainer. “So that was a huge event to have happen here.”\u003c/p>\n\u003cp>Benny was just one of many big names who appeared at the venue. Marlene Dietrich, Lucille Ball, Loretta Young and Bob Hope also came through.\u003c/p>\n\u003cp>The celebrities visited the troops, signed autographs and sometimes put on shows.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“They weren’t trying to show off,” Rosenstein said. “They were doing it because they genuinely supported the war effort. They were here to visit the wounded soldiers. They weren’t trying to be stars.”\u003c/p>\n\u003cp>Back then, the theater wasn’t an ideal place to put on a live performance. It lacked dressing rooms. And the narrow, cramped stage didn’t have proper wings.\u003c/p>\n\u003cp>Rosenstein said stars like Benny and Hope got away with performing there because of the relatively low-key demands of radio production.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“These radio programs, because they didn’t have the requirements of a big stage production, could kind of squeeze into that space between the the apron and the screen,” Rosenstein said.\u003c/p>\n\u003cp>When the army moved out in 1994, the elegant, Spanish Colonial-style building fell into disuse.\u003c/p>\n\u003cfigure id=\"attachment_13866668\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg\" alt=\"Architect Mark Hornberger\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Architect Mark Hornberger. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was dark. No lights. No power,” said San Francisco architect Mark Hornberger about visiting the run-down space for the first time a few years ago. “The ceiling had partially collapsed because the roof was leaking.”\u003c/p>\n\u003cp>Hornberger was part of the team that worked on the renovation project.\u003c/p>\n\u003cp>Originally conceived as a movie theater, the newly spruced-up building will now serve the broader community as a live events venue, as well as a space for screening films.\u003c/p>\n\u003cp>The eclectic programming for the coming months includes a dance performance by \u003ca href=\"https://www.presidiotheatre.org/show/kaisahan-unidad/\" target=\"_blank\" rel=\"noopener\">Ballet Folklórico de San Francisco and LIKHA-Pilipino Folk Ensemble\u003c/a>, the pop group \u003ca href=\"https://www.presidiotheatre.org/show/the-family-crest/\" target=\"_blank\" rel=\"noopener\">The Family Crest\u003c/a> in concert, a magic show from Bay Area illusionist \u003ca href=\"https://www.presidiotheatre.org/show/andrew-evans-an-evening-of-mystery-and-illusion/\" target=\"_blank\" rel=\"noopener\">Andrew Evans\u003c/a>, a rare public screening of \u003ca href=\"https://www.presidiotheatre.org/show/janes-declaration-of-independence/\" target=\"_blank\" rel=\"noopener\">the oldest-known movie shot in the Presidio\u003c/a> and an awards ceremony for this year’s \u003ca href=\"https://www.presidiotheatre.org/show/american-indian-motion-picture-awards-show/\" target=\"_blank\" rel=\"noopener\">American Indian Film Festival.\u003c/a>\u003c/p>\n\u003cp>The venue now has a roomy stage, a fancy sound and lighting system, gleaming dressing rooms and a customizable rehearsal space. And many of the historical features, such as the foundations, the auditorium ceiling fixtures and the projection booth, are still intact.\u003c/p>\n\u003cp>The theater now seats 600 audience members instead of the original 900. Hornberger said he thinks people will love the greater comfort and coziness, including the performers.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003ci>“\u003c/i>You really feel like you can see the eyes of every member of the audience, and they feel like they’re just within reach,” Hornberger said, gazing out at the rows of blue, fabric-upholstered seats from the stage. “It’s a very intimate space.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following a $40 million dollar face lift, the \u003ca href=\"https://www.presidiotheatre.org\" target=\"_blank\" rel=\"noopener\">Presidio Theatre\u003c/a> in San Francisco is reopening this weekend after decades of neglect and disuse. \u003c/p>\n\u003cp>The venue was built in 1939 as the main social and entertainment hub for military personnel stationed at the Presidio army base, and it has a star-studded past.\u003c/p>\n\u003cp>Around 3,000 people showed up to see comedian and vaudevillian Jack Benny perform there in 1942, and millions more heard the \u003ca href=\"https://bayarearadio.org/audio/jack-benny\" target=\"_blank\" rel=\"noopener\">NBC radio broadcast\u003c/a> across the country and around the world.\u003c/p>\n\u003cfigure id=\"attachment_13866667\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg\" alt=\"Presidio Trust Program Producer Brad Rosenstein\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Presidio Trust Program Producer Brad Rosenstein. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was one of the great performers of his time,” said Presidio Trust program producer Brad Rosenstein of the famed entertainer. “So that was a huge event to have happen here.”\u003c/p>\n\u003cp>Benny was just one of many big names who appeared at the venue. Marlene Dietrich, Lucille Ball, Loretta Young and Bob Hope also came through.\u003c/p>\n\u003cp>The celebrities visited the troops, signed autographs and sometimes put on shows.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“They weren’t trying to show off,” Rosenstein said. “They were doing it because they genuinely supported the war effort. They were here to visit the wounded soldiers. They weren’t trying to be stars.”\u003c/p>\n\u003cp>Back then, the theater wasn’t an ideal place to put on a live performance. It lacked dressing rooms. And the narrow, cramped stage didn’t have proper wings.\u003c/p>\n\u003cp>Rosenstein said stars like Benny and Hope got away with performing there because of the relatively low-key demands of radio production.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“These radio programs, because they didn’t have the requirements of a big stage production, could kind of squeeze into that space between the the apron and the screen,” Rosenstein said.\u003c/p>\n\u003cp>When the army moved out in 1994, the elegant, Spanish Colonial-style building fell into disuse.\u003c/p>\n\u003cfigure id=\"attachment_13866668\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg\" alt=\"Architect Mark Hornberger\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Architect Mark Hornberger. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was dark. No lights. No power,” said San Francisco architect Mark Hornberger about visiting the run-down space for the first time a few years ago. “The ceiling had partially collapsed because the roof was leaking.”\u003c/p>\n\u003cp>Hornberger was part of the team that worked on the renovation project.\u003c/p>\n\u003cp>Originally conceived as a movie theater, the newly spruced-up building will now serve the broader community as a live events venue, as well as a space for screening films.\u003c/p>\n\u003cp>The eclectic programming for the coming months includes a dance performance by \u003ca href=\"https://www.presidiotheatre.org/show/kaisahan-unidad/\" target=\"_blank\" rel=\"noopener\">Ballet Folklórico de San Francisco and LIKHA-Pilipino Folk Ensemble\u003c/a>, the pop group \u003ca href=\"https://www.presidiotheatre.org/show/the-family-crest/\" target=\"_blank\" rel=\"noopener\">The Family Crest\u003c/a> in concert, a magic show from Bay Area illusionist \u003ca href=\"https://www.presidiotheatre.org/show/andrew-evans-an-evening-of-mystery-and-illusion/\" target=\"_blank\" rel=\"noopener\">Andrew Evans\u003c/a>, a rare public screening of \u003ca href=\"https://www.presidiotheatre.org/show/janes-declaration-of-independence/\" target=\"_blank\" rel=\"noopener\">the oldest-known movie shot in the Presidio\u003c/a> and an awards ceremony for this year’s \u003ca href=\"https://www.presidiotheatre.org/show/american-indian-motion-picture-awards-show/\" target=\"_blank\" rel=\"noopener\">American Indian Film Festival.\u003c/a>\u003c/p>\n\u003cp>The venue now has a roomy stage, a fancy sound and lighting system, gleaming dressing rooms and a customizable rehearsal space. And many of the historical features, such as the foundations, the auditorium ceiling fixtures and the projection booth, are still intact.\u003c/p>\n\u003cp>The theater now seats 600 audience members instead of the original 900. Hornberger said he thinks people will love the greater comfort and coziness, including the performers.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003ci>“\u003c/i>You really feel like you can see the eyes of every member of the audience, and they feel like they’re just within reach,” Hornberger said, gazing out at the rows of blue, fabric-upholstered seats from the stage. “It’s a very intimate space.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "sealed-for-10-years-an-excelsior-butcher-shop-becomes-a-vibrant-teen-art-space",
"title": "Sealed for 10 Years, an Excelsior Butcher Shop Becomes a Vibrant Teen Art Space",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n an overcast August afternoon, \u003ca href=\"https://www.youthartexchange.org/xspace\" target=\"_blank\" rel=\"noopener\">[x]space\u003c/a> is bustling with dozens of teenagers, parents and neighbors eager to see summertime work by Youth Art Exchange students. A group of girls hawk screen-printed, hand-dyed patches and tote bags with slogans like “Melt I.C.E.!” Succulents in handmade planters hang from wooden “living walls” built by students themselves. At one point, kids beeline to the music studio in the back, where videos they recorded and edited screen in surround sound and high definition.\u003c/p>\n\u003cp>The neon pink meat hooks hanging above the music studio are the only evidence that just a year ago, this vibrant Excelsior art space was a derelict butcher shop that had been abruptly sealed shut and left as-is for 10 years.\u003c/p>\n\u003cfigure id=\"attachment_13865910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_3391-800x533.jpg\" alt=\"Students, parents and neighbors gather at Youth Art Exchange's X Space for a teen art show.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students, parents and neighbors gather at Youth Art Exchange’s [x]space for a teen art show. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With sky-high real estate prices in San Francisco, the story of how the teen-focused art space came to be is an unlikely one. In 2018, a grant from San Francisco’s Office of Economic and Workforce Development presented \u003ca href=\"https://www.youthartexchange.org\" target=\"_blank\" rel=\"noopener\">Youth Art Exchange\u003c/a> an opportunity to find a brick-and-mortar location. Until that point, the small nonprofit had run its free after-school and summer arts programs out of various classrooms across the city. [pullquote align='right' citation='Jorge Courtade']“This is a safe space for people growing up in a city that’s changing by the day.”[/pullquote]\u003c/p>\n\u003cp>Youth Art Exchange organizers knew full well that they didn’t fit the profile of a typical commercial tenant. Property owners seemed confused when executive director Reed Davaz McGowan and deputy director Raffaella Falchi Macias told them that they weren’t selling anything, and would pay rent through a combination of several grants. Meanwhile, most landlords wanted a tenant willing to commit to a 10-year lease, while they were only looking to sign for one to three years.\u003c/p>\n\u003cp>Undeterred, Davaz McGowan and Falchi Macias spent six months hitting the streets and calling numbers on any “For Rent” sign they could find. Eventually, the business development group Excelsior Action Group introduced them to the three brothers who owned the Chuck’s Market building. To Davaz McGowan and Falchi Macias’ surprise, they decided to take a chance on Youth Art Exchange.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The only catch? Their storefront on the corner of Mission Street and Geneva Avenue needed a ton of work. The first thing Falchi Macias and Davaz McGowan noticed was the smell.\u003c/p>\n\u003cp>“It was rotting flesh with a little side of fish,” recalls Davaz McGowan, wrinkling her nose. “Imagine that mixed with 10 years of mildew and funk.”\u003c/p>\n\u003cfigure id=\"attachment_13865907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/yax2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Printmaking students show off apparel with activist slogans at Youth Art Exchange’s [x]space. \u003ccite>(Nastia Voynovskaya )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith the help of 50 volunteers, the Youth Art Exchange team emptied ancient dish buckets, threw away rusty lobster cages, cleared out old deli fridges and chiseled tiles off the walls. The nonprofit ArtSpan, which came on as a co-tenant and keeps an artist studio in the space, activated its network of artists to help. Three months later, in June 2018, Youth Art Exchange’s first classes at the new [x]space were in session.\u003c/p>\n\u003cp>With a faculty of practicing artists, including musicians, designers and photographers, [x]space offers a wide range of \u003ca href=\"https://www.youthartexchange.org/core-programs\" target=\"_blank\" rel=\"noopener\">curricula\u003c/a> to diverse cohorts of high school students, and all after-school classes and summer programs are free. (They also regularly offer free events and workshops to the public, like the upcoming \u003ca href=\"https://www.youthartexchange.org/events/artmart2019\" target=\"_blank\" rel=\"noopener\">fundraiser and art market\u003c/a> on Oct. 10.) This past summer’s intensive programs focused on printmaking, film and music production. Sessions kicking off this school year include the above-mentioned disciplines, plus architecture, photography, industrial and product design, fashion design and dance.\u003c/p>\n\u003cp>“We want to make the arts really accessible across economic boundaries,” says Falchi Macias, explaining that Youth Art Exchange programming is designed to mirror intro-level college art studio classes.\u003c/p>\n\u003cfigure id=\"attachment_13866018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866018\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_6244-800x533.jpg\" alt=\"Students dance at Youth Art Exchange's Youth Digital Music Festival, which took place at X Space in May.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students dance to each other’s music at Youth Art Exchange’s Youth Digital Music Festival, which took place at [x]space in May. \u003ccite>(Chantelle Schultz/Youth Art Exchange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some youth come in and they have very limited skills, and we’re bringing them to a high-beginning, lower-intermediate level as fast as we can,” says music production instructor Alfie Macias, who is also a percussionist, DJ and the musical director of award-winning Brazilian dance ensemble \u003ca href=\"https://www.facebook.com/sambaxe/\" target=\"_blank\" rel=\"noopener\">Sambaxé\u003c/a>. “And others are coming in with vocal training, instrument training, theory, so with them we’re going straight into composition and showing them what’s possible in a recording environment.”\u003c/p>\n\u003cp>He adds that one of his main goals is to expose students to audio careers in the Bay Area, where the industry is geared towards audio-for-video and live sound engineering. Indeed, some Youth Art Exchange students are well on their way to professional music careers. At Youth Art Exchange’s Youth Digital Music Festival this past May (where, full disclosure, I was a guest speaker), a 16-year-old rapper named Fusion casually announced that he was stopping in to “do this little show” for his teachers before heading off for tour in Central America.\u003c/p>\n\u003cfigure id=\"attachment_13865908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/yax1-800x533.jpg\" alt=\"Music instructor Alfie Macias talks to a parent at X Space. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music instructor Alfie Macias talks to a parent at [x]space. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he students who use [x]space come from the Excelsior, Mission and Bayview neighborhoods, among others, and represent a wide variety of public schools. [x]space, located on a busy block with Chinese restaurants, liquor stores and a pupusería, sits in the heart of a diverse neighborhood that’s predominantly Asian and Latinx. As San Francisco becomes increasingly more affluent, white and childless, [x]space serves as a crucial gathering space for teens of color whose families bear the brunt of current economic pressures. [aside postid='arts_13864750']\u003c/p>\n\u003cp>Indeed, San Francisco Supervisor Ahsha Safaí, whose office supported [x]space with funding and logistics, says that his constituency in the Excelsior has the highest concentration of children under 18 in San Francisco, along with Bayview-Hunters Point. “There are immigrant families and families of color living in my district, so having a place that’s near their home that readily promotes the arts is extremely important, and opens up opportunities and experiences for our families and our youth,” he says.\u003c/p>\n\u003cp>“I wish I could have had this kind of place when I was younger and in high school,” says Jorge Courtade, Youth Art Exchange’s program associate, who is also known as DJ \u003ca href=\"https://soundcloud.com/juannydepp\" target=\"_blank\" rel=\"noopener\">Juanny Depp\u003c/a> from the music collective Amor Digital. He was raised in Millbrae and some of his family, immigrants from Honduras, settled in the Excelsior. “Being a teenager is a strange time in anyone’s life, especially when factors like institutional poverty and racism exist, so this is a safe space for people growing up in a city that’s changing by the day.”\u003c/p>\n\u003cfigure id=\"attachment_13865909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13865909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_3393-800x533.jpg\" alt=\"Youth Art Exchange deputy director Raffaella Falchi Macias and executive director Reed Davaz McGowan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Youth Art Exchange deputy director Raffaella Falchi Macias and Reed Davaz McGowan. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of Youth Art Exchange programming is designed to give students a voice at a time when change in San Francisco is largely dictated by governmental and corporate forces, and it’s easy for individuals to feel powerless. In recent years, architecture students designed parklets near City Hall. Printmaking students screen-printed public art for utility boxes on Ocean Avenue. And music students performed songs about gentrification in English, Spanish and Haitian Creole in a collaboration with SFJAZZ called Beats on the Corner. [aside postid='arts_13865238']\u003c/p>\n\u003cp>“Since the Trump presidency specifically, we were feeling really scared and we didn’t know what we could really do to make a difference,” says Fiona Gray, a Youth Art Exchange alumni who graduated from Mission High School this year. “A lot of it is just getting out there and getting your message heard.”\u003c/p>\n\u003cp>Davaz McGowan and Falchi Macias agree. “[Youth] often don’t have agency, or are often thought of as ‘they’re too young and don’t know anything yet, so we shouldn’t listen to what they have to say,'” says Falchi Macias.\u003c/p>\n\u003cp>Although most of the Youth Art Exchange kids can’t vote yet, the directors explain, the program’s emphasis on civic engagement through art—getting their hands dirty setting up [x]space included—is one way they’re making an impact on their community.\u003c/p>\n\u003cp>As Davaz McGowan says, “They actually get to make the San Francisco they want to have.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Correction:\u003c/em> \u003c/strong>\u003cem>This story originally referred to the organization that connected Youth Art Exchange to the owners of Chuck’s Market as Excelsior Collaborative. The group was Excelsior Action Group.\u003c/em>\u003c/p>\n\n",
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"title": "Sealed for 10 Years, an Excelsior Butcher Shop Becomes a Vibrant Teen Art Space | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n an overcast August afternoon, \u003ca href=\"https://www.youthartexchange.org/xspace\" target=\"_blank\" rel=\"noopener\">[x]space\u003c/a> is bustling with dozens of teenagers, parents and neighbors eager to see summertime work by Youth Art Exchange students. A group of girls hawk screen-printed, hand-dyed patches and tote bags with slogans like “Melt I.C.E.!” Succulents in handmade planters hang from wooden “living walls” built by students themselves. At one point, kids beeline to the music studio in the back, where videos they recorded and edited screen in surround sound and high definition.\u003c/p>\n\u003cp>The neon pink meat hooks hanging above the music studio are the only evidence that just a year ago, this vibrant Excelsior art space was a derelict butcher shop that had been abruptly sealed shut and left as-is for 10 years.\u003c/p>\n\u003cfigure id=\"attachment_13865910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_3391-800x533.jpg\" alt=\"Students, parents and neighbors gather at Youth Art Exchange's X Space for a teen art show.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students, parents and neighbors gather at Youth Art Exchange’s [x]space for a teen art show. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With sky-high real estate prices in San Francisco, the story of how the teen-focused art space came to be is an unlikely one. In 2018, a grant from San Francisco’s Office of Economic and Workforce Development presented \u003ca href=\"https://www.youthartexchange.org\" target=\"_blank\" rel=\"noopener\">Youth Art Exchange\u003c/a> an opportunity to find a brick-and-mortar location. Until that point, the small nonprofit had run its free after-school and summer arts programs out of various classrooms across the city. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Youth Art Exchange organizers knew full well that they didn’t fit the profile of a typical commercial tenant. Property owners seemed confused when executive director Reed Davaz McGowan and deputy director Raffaella Falchi Macias told them that they weren’t selling anything, and would pay rent through a combination of several grants. Meanwhile, most landlords wanted a tenant willing to commit to a 10-year lease, while they were only looking to sign for one to three years.\u003c/p>\n\u003cp>Undeterred, Davaz McGowan and Falchi Macias spent six months hitting the streets and calling numbers on any “For Rent” sign they could find. Eventually, the business development group Excelsior Action Group introduced them to the three brothers who owned the Chuck’s Market building. To Davaz McGowan and Falchi Macias’ surprise, they decided to take a chance on Youth Art Exchange.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The only catch? Their storefront on the corner of Mission Street and Geneva Avenue needed a ton of work. The first thing Falchi Macias and Davaz McGowan noticed was the smell.\u003c/p>\n\u003cp>“It was rotting flesh with a little side of fish,” recalls Davaz McGowan, wrinkling her nose. “Imagine that mixed with 10 years of mildew and funk.”\u003c/p>\n\u003cfigure id=\"attachment_13865907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/yax2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Printmaking students show off apparel with activist slogans at Youth Art Exchange’s [x]space. \u003ccite>(Nastia Voynovskaya )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith the help of 50 volunteers, the Youth Art Exchange team emptied ancient dish buckets, threw away rusty lobster cages, cleared out old deli fridges and chiseled tiles off the walls. The nonprofit ArtSpan, which came on as a co-tenant and keeps an artist studio in the space, activated its network of artists to help. Three months later, in June 2018, Youth Art Exchange’s first classes at the new [x]space were in session.\u003c/p>\n\u003cp>With a faculty of practicing artists, including musicians, designers and photographers, [x]space offers a wide range of \u003ca href=\"https://www.youthartexchange.org/core-programs\" target=\"_blank\" rel=\"noopener\">curricula\u003c/a> to diverse cohorts of high school students, and all after-school classes and summer programs are free. (They also regularly offer free events and workshops to the public, like the upcoming \u003ca href=\"https://www.youthartexchange.org/events/artmart2019\" target=\"_blank\" rel=\"noopener\">fundraiser and art market\u003c/a> on Oct. 10.) This past summer’s intensive programs focused on printmaking, film and music production. Sessions kicking off this school year include the above-mentioned disciplines, plus architecture, photography, industrial and product design, fashion design and dance.\u003c/p>\n\u003cp>“We want to make the arts really accessible across economic boundaries,” says Falchi Macias, explaining that Youth Art Exchange programming is designed to mirror intro-level college art studio classes.\u003c/p>\n\u003cfigure id=\"attachment_13866018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866018\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_6244-800x533.jpg\" alt=\"Students dance at Youth Art Exchange's Youth Digital Music Festival, which took place at X Space in May.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students dance to each other’s music at Youth Art Exchange’s Youth Digital Music Festival, which took place at [x]space in May. \u003ccite>(Chantelle Schultz/Youth Art Exchange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some youth come in and they have very limited skills, and we’re bringing them to a high-beginning, lower-intermediate level as fast as we can,” says music production instructor Alfie Macias, who is also a percussionist, DJ and the musical director of award-winning Brazilian dance ensemble \u003ca href=\"https://www.facebook.com/sambaxe/\" target=\"_blank\" rel=\"noopener\">Sambaxé\u003c/a>. “And others are coming in with vocal training, instrument training, theory, so with them we’re going straight into composition and showing them what’s possible in a recording environment.”\u003c/p>\n\u003cp>He adds that one of his main goals is to expose students to audio careers in the Bay Area, where the industry is geared towards audio-for-video and live sound engineering. Indeed, some Youth Art Exchange students are well on their way to professional music careers. At Youth Art Exchange’s Youth Digital Music Festival this past May (where, full disclosure, I was a guest speaker), a 16-year-old rapper named Fusion casually announced that he was stopping in to “do this little show” for his teachers before heading off for tour in Central America.\u003c/p>\n\u003cfigure id=\"attachment_13865908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/yax1-800x533.jpg\" alt=\"Music instructor Alfie Macias talks to a parent at X Space. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music instructor Alfie Macias talks to a parent at [x]space. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he students who use [x]space come from the Excelsior, Mission and Bayview neighborhoods, among others, and represent a wide variety of public schools. [x]space, located on a busy block with Chinese restaurants, liquor stores and a pupusería, sits in the heart of a diverse neighborhood that’s predominantly Asian and Latinx. As San Francisco becomes increasingly more affluent, white and childless, [x]space serves as a crucial gathering space for teens of color whose families bear the brunt of current economic pressures. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, San Francisco Supervisor Ahsha Safaí, whose office supported [x]space with funding and logistics, says that his constituency in the Excelsior has the highest concentration of children under 18 in San Francisco, along with Bayview-Hunters Point. “There are immigrant families and families of color living in my district, so having a place that’s near their home that readily promotes the arts is extremely important, and opens up opportunities and experiences for our families and our youth,” he says.\u003c/p>\n\u003cp>“I wish I could have had this kind of place when I was younger and in high school,” says Jorge Courtade, Youth Art Exchange’s program associate, who is also known as DJ \u003ca href=\"https://soundcloud.com/juannydepp\" target=\"_blank\" rel=\"noopener\">Juanny Depp\u003c/a> from the music collective Amor Digital. He was raised in Millbrae and some of his family, immigrants from Honduras, settled in the Excelsior. “Being a teenager is a strange time in anyone’s life, especially when factors like institutional poverty and racism exist, so this is a safe space for people growing up in a city that’s changing by the day.”\u003c/p>\n\u003cfigure id=\"attachment_13865909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13865909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_3393-800x533.jpg\" alt=\"Youth Art Exchange deputy director Raffaella Falchi Macias and executive director Reed Davaz McGowan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Youth Art Exchange deputy director Raffaella Falchi Macias and Reed Davaz McGowan. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of Youth Art Exchange programming is designed to give students a voice at a time when change in San Francisco is largely dictated by governmental and corporate forces, and it’s easy for individuals to feel powerless. In recent years, architecture students designed parklets near City Hall. Printmaking students screen-printed public art for utility boxes on Ocean Avenue. And music students performed songs about gentrification in English, Spanish and Haitian Creole in a collaboration with SFJAZZ called Beats on the Corner. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Since the Trump presidency specifically, we were feeling really scared and we didn’t know what we could really do to make a difference,” says Fiona Gray, a Youth Art Exchange alumni who graduated from Mission High School this year. “A lot of it is just getting out there and getting your message heard.”\u003c/p>\n\u003cp>Davaz McGowan and Falchi Macias agree. “[Youth] often don’t have agency, or are often thought of as ‘they’re too young and don’t know anything yet, so we shouldn’t listen to what they have to say,'” says Falchi Macias.\u003c/p>\n\u003cp>Although most of the Youth Art Exchange kids can’t vote yet, the directors explain, the program’s emphasis on civic engagement through art—getting their hands dirty setting up [x]space included—is one way they’re making an impact on their community.\u003c/p>\n\u003cp>As Davaz McGowan says, “They actually get to make the San Francisco they want to have.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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