An Experimental Fashion Show Presents a Vision of Artists in Motion
‘The Mission’ Struggles to Find Its Own Reason for Being
In Duane Linklater’s ‘mymothersside,’ Memory is Buried Deep in Objects
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"content": "\u003cp>Guests at the Dec. 16 event were instructed to wear all black. The assignment might have turned the lobby of \u003ca href=\"https://www.monument.house/\">Monument\u003c/a>, a SoMa event space, into a funeral hall had there been less leather, or fewer pleats. Instead, the crowd resembled the queue for a Berlin nightclub. \u003c/p>\n\u003cp>The occasion: an experimental fashion show and clothing pop-up called \u003ca href=\"https://twotwo.online/products/the-wedding-fashion-show-saturday-12-16-23\">The Wedding\u003c/a>. Emerging designers flew in from Tokyo, Mexico City, Krakow and New York to join a slate of Bay Area brands in an exhibition freestyling on the marital theme. The night’s hosts — Oakland boutique \u003ca href=\"https://twotwo.online/\">Two Two\u003c/a> and the California pop-up \u003ca href=\"https://www.instagram.com/janegalerie/\">jane galerie\u003c/a> — converted the Monument lobby into a runway, marking its borders with minimal floral arrangements that sprouted from the shiny concrete floor like sophisticated weeds. \u003c/p>\n\u003cfigure id=\"attachment_13939675\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits.jpg\" alt=\"Left: A person with long hair in a black dress. Right: A person with their dark hair up, wearing a sheer black dress.\" width=\"2500\" height=\"1853\" class=\"size-full wp-image-13939675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-2048x1518.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1920x1423.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">The Wedding co-organizers. Left: CC Doan, the founder and curator of Two Two, a gallery-shop and concept space in Oakland. Right: Janie Perez-Radler, founder of jane galerie. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13939157']Two Two’s founder, CC Doan, told me that the lineup of designers included a mix of brands she carries in her store and some she and Janie Perez-Radler of jane galerie have admired from afar. It was an unusual setup for a fashion show, which more regularly presents the ideas of a single designer whose setting and decor choices amplify the vision of the clothes. Here, designers would instead put their spins on the thematic vision of the organizers; the clothes were not on display in their worlds, but in our own.\u003c/p>\n\u003cp>This group show enabled relative comparisons between makers that breathed a dynamism into each garment. Take Northern California designer \u003ca href=\"https://www.instagram.com/_violette_hay/\">Violette Hay\u003c/a>’s sole look of the evening, a glistening white satin gown that clung to the body of its model beneath a spidery web of bejeweled white yarn. The outfit presented a fantasy of the wedding as sensual, romantic — a stark contrast to the punk belligerence of the collaboration between Oakland’s \u003ca href=\"https://www.oliviakrause.com/\">Olivia Krause\u003c/a> and the brand \u003ca href=\"https://www.instagram.com/bbybuu143/?hl=en\">Devotion\u003c/a>. Their heavily airbrushed crop tops and shimmery, fuchsia eyeshadow signaled a rejection of tradition rather than its embrace. One of their models sported a mohawk in three green-tipped, footlong spikes; black, dusty combat boots peeked out from a knee-high slit cut down the side of black trousers. \u003c/p>\n\u003cfigure id=\"attachment_13939677\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000.jpg\" alt=\"Model in two-piece hand painted outfit struts on runway with crowd on either side\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A model in Olivia Krause x Devotion at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two visions, juxtaposed, called attention to each designer’s niche, localized style. \u003cem>Who are the people in these clothes\u003c/em>, the comparisons seemed to beg. Forget what they have to say about our culture. What are these people trying to say about themselves?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A total of 14 designers exhibited in The Wedding, and each in relation to the other became a sort of statement of personality — a glimpse into subculture. Oakland’s \u003ca href=\"https://www.rsfxx.com/\">Raven S Fox\u003c/a> delivered hypersexual glamor for downtown nights with one-of-one leather patchwork pieces drawn tight and slim around the chest, upper bodies almost entirely exposed. Another Oakland brand, \u003ca href=\"https://www.unsettleco.com/\">Unsettle\u003c/a>, sent models down the runway decked head to toe in monochrome canvas utility gear, no skin in sight. One Unsettle model carried a DJ controller under his arm, but you got the sense he might more regularly lug a skateboard. \u003c/p>\n\u003cfigure id=\"attachment_13939650\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED.jpg\" alt=\"A model in a scant black outfit stands in front of a large group of people.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A model wears Oakland designer Raven S Fox on the runway at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few recurring motifs — messy patchwork, crochet, airbrushing — hinted at a common character of interest in each collection: the artist, whose enviable do-it-yourself improvisations remix the conventional. For Tokyo designer \u003ca href=\"https://www.instagram.com/yushokobayashi/?hl=en\">Yusho Kobayashi\u003c/a> this meant an image of the Harajuku schoolgirl personalizing her uniform. A chunky, frilled seifuku dress was paired with a hat wreathed in silver chain; a drapey knit sweater was covered in a frenzy of black and white knit flowers. For Brooklyn designer \u003ca href=\"https://www.instagram.com/rumi_miu/?hl=en\">Rumimiu\u003c/a>, it meant hand-knit and crocheted maxi dresses in wide open weaves, dripping with strings of yarn in royal blue and mustard. This was an artist at play — who else would have such audacity to wear a cream knit ruff?\u003c/p>\n\u003cfigure id=\"attachment_13939651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED.jpg\" alt=\"A model wearing a large bag stands in front of a large group of people.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lucia Camarda wears Nothing Nothing2 on the runway at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13938519']The most breathtaking and all-encompassing looks of the evening, for my money, though, came from the eponymous Phoenix/Mexico City brand \u003ca href=\"https://loubadger.co/\">Lou Badger\u003c/a>. Her first outfit was a slouchy white-on-white long-sleeved shirt and maxi skirt combo, both draping in relaxed, textured folds. In a twirl, the model released a bunch of material at her cuff and her left sleeve slinked to the floor like a bridal train. Badger’s second look saw a man wearing a structured white satin collared jacket underneath a white satin utility vest. At the waist, a diagonal seam in the jacket converted the garment to a dress, cutting off just above the knee. \u003c/p>\n\u003cp>We make so much of subversion, but subversion for subversion’s sake signals a void of personality, not a distinctive one. Badger’s looks, like the best outfits on the runway and in the crowd, bore the mark of singular tastes. The theme, in their hands and on their bodies, was an opportunity for a projection of self rather than a subsumption of it. How interesting the streets would be if we all dressed accordingly: Every day a theme, every day a self to show the world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Wedding pop-up shop featured at the event will continue at \u003ca href=\"https://twotwo.online/\">Two Two\u003c/a> (3221 Grand Ave., Oakland) through Sunday, Dec. 24.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Guests at the Dec. 16 event were instructed to wear all black. The assignment might have turned the lobby of \u003ca href=\"https://www.monument.house/\">Monument\u003c/a>, a SoMa event space, into a funeral hall had there been less leather, or fewer pleats. Instead, the crowd resembled the queue for a Berlin nightclub. \u003c/p>\n\u003cp>The occasion: an experimental fashion show and clothing pop-up called \u003ca href=\"https://twotwo.online/products/the-wedding-fashion-show-saturday-12-16-23\">The Wedding\u003c/a>. Emerging designers flew in from Tokyo, Mexico City, Krakow and New York to join a slate of Bay Area brands in an exhibition freestyling on the marital theme. The night’s hosts — Oakland boutique \u003ca href=\"https://twotwo.online/\">Two Two\u003c/a> and the California pop-up \u003ca href=\"https://www.instagram.com/janegalerie/\">jane galerie\u003c/a> — converted the Monument lobby into a runway, marking its borders with minimal floral arrangements that sprouted from the shiny concrete floor like sophisticated weeds. \u003c/p>\n\u003cfigure id=\"attachment_13939675\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits.jpg\" alt=\"Left: A person with long hair in a black dress. Right: A person with their dark hair up, wearing a sheer black dress.\" width=\"2500\" height=\"1853\" class=\"size-full wp-image-13939675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1536x1138.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-2048x1518.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_portraits-1920x1423.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">The Wedding co-organizers. Left: CC Doan, the founder and curator of Two Two, a gallery-shop and concept space in Oakland. Right: Janie Perez-Radler, founder of jane galerie. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Two Two’s founder, CC Doan, told me that the lineup of designers included a mix of brands she carries in her store and some she and Janie Perez-Radler of jane galerie have admired from afar. It was an unusual setup for a fashion show, which more regularly presents the ideas of a single designer whose setting and decor choices amplify the vision of the clothes. Here, designers would instead put their spins on the thematic vision of the organizers; the clothes were not on display in their worlds, but in our own.\u003c/p>\n\u003cp>This group show enabled relative comparisons between makers that breathed a dynamism into each garment. Take Northern California designer \u003ca href=\"https://www.instagram.com/_violette_hay/\">Violette Hay\u003c/a>’s sole look of the evening, a glistening white satin gown that clung to the body of its model beneath a spidery web of bejeweled white yarn. The outfit presented a fantasy of the wedding as sensual, romantic — a stark contrast to the punk belligerence of the collaboration between Oakland’s \u003ca href=\"https://www.oliviakrause.com/\">Olivia Krause\u003c/a> and the brand \u003ca href=\"https://www.instagram.com/bbybuu143/?hl=en\">Devotion\u003c/a>. Their heavily airbrushed crop tops and shimmery, fuchsia eyeshadow signaled a rejection of tradition rather than its embrace. One of their models sported a mohawk in three green-tipped, footlong spikes; black, dusty combat boots peeked out from a knee-high slit cut down the side of black trousers. \u003c/p>\n\u003cfigure id=\"attachment_13939677\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000.jpg\" alt=\"Model in two-piece hand painted outfit struts on runway with crowd on either side\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0394_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A model in Olivia Krause x Devotion at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two visions, juxtaposed, called attention to each designer’s niche, localized style. \u003cem>Who are the people in these clothes\u003c/em>, the comparisons seemed to beg. Forget what they have to say about our culture. What are these people trying to say about themselves?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A total of 14 designers exhibited in The Wedding, and each in relation to the other became a sort of statement of personality — a glimpse into subculture. Oakland’s \u003ca href=\"https://www.rsfxx.com/\">Raven S Fox\u003c/a> delivered hypersexual glamor for downtown nights with one-of-one leather patchwork pieces drawn tight and slim around the chest, upper bodies almost entirely exposed. Another Oakland brand, \u003ca href=\"https://www.unsettleco.com/\">Unsettle\u003c/a>, sent models down the runway decked head to toe in monochrome canvas utility gear, no skin in sight. One Unsettle model carried a DJ controller under his arm, but you got the sense he might more regularly lug a skateboard. \u003c/p>\n\u003cfigure id=\"attachment_13939650\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED.jpg\" alt=\"A model in a scant black outfit stands in front of a large group of people.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0556-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A model wears Oakland designer Raven S Fox on the runway at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few recurring motifs — messy patchwork, crochet, airbrushing — hinted at a common character of interest in each collection: the artist, whose enviable do-it-yourself improvisations remix the conventional. For Tokyo designer \u003ca href=\"https://www.instagram.com/yushokobayashi/?hl=en\">Yusho Kobayashi\u003c/a> this meant an image of the Harajuku schoolgirl personalizing her uniform. A chunky, frilled seifuku dress was paired with a hat wreathed in silver chain; a drapey knit sweater was covered in a frenzy of black and white knit flowers. For Brooklyn designer \u003ca href=\"https://www.instagram.com/rumi_miu/?hl=en\">Rumimiu\u003c/a>, it meant hand-knit and crocheted maxi dresses in wide open weaves, dripping with strings of yarn in royal blue and mustard. This was an artist at play — who else would have such audacity to wear a cream knit ruff?\u003c/p>\n\u003cfigure id=\"attachment_13939651\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED.jpg\" alt=\"A model wearing a large bag stands in front of a large group of people.\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20231216_KQED_Wedding_Fashion_Show_ML_0604-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lucia Camarda wears Nothing Nothing2 on the runway at The Wedding. \u003ccite>(Marissa Leshnov for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The most breathtaking and all-encompassing looks of the evening, for my money, though, came from the eponymous Phoenix/Mexico City brand \u003ca href=\"https://loubadger.co/\">Lou Badger\u003c/a>. Her first outfit was a slouchy white-on-white long-sleeved shirt and maxi skirt combo, both draping in relaxed, textured folds. In a twirl, the model released a bunch of material at her cuff and her left sleeve slinked to the floor like a bridal train. Badger’s second look saw a man wearing a structured white satin collared jacket underneath a white satin utility vest. At the waist, a diagonal seam in the jacket converted the garment to a dress, cutting off just above the knee. \u003c/p>\n\u003cp>We make so much of subversion, but subversion for subversion’s sake signals a void of personality, not a distinctive one. Badger’s looks, like the best outfits on the runway and in the crowd, bore the mark of singular tastes. The theme, in their hands and on their bodies, was an opportunity for a projection of self rather than a subsumption of it. How interesting the streets would be if we all dressed accordingly: Every day a theme, every day a self to show the world.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Wedding pop-up shop featured at the event will continue at \u003ca href=\"https://twotwo.online/\">Two Two\u003c/a> (3221 Grand Ave., Oakland) through Sunday, Dec. 24.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Mission’ Struggles to Find Its Own Reason for Being",
"headTitle": "‘The Mission’ Struggles to Find Its Own Reason for Being | KQED",
"content": "\u003cp>One of the earliest shots in the documentary \u003cem>\u003ca href=\"https://sffilm.org/event/the-mission/\">The Mission\u003c/a>\u003c/em> hangs from a distance on North Sentinel Island, a remote speck of Indian jungle located along the southeast edge of the Bay of Bengal. Thick, gray clouds clog the sky overhead. Trees, nearly black in the gloom, crowd so close to the water that you can hardly make out a sliver of sandy shore. The island is far away, and it is alone. Its inhabitants, we will soon learn, intend to keep it that way. \u003c/p>\n\u003cp>Seeing the island at such a remove engenders a complicated yearning — \u003cem>why can’t we just push a little bit closer, see a little more clearly\u003c/em>, one wonders. But this complication is quickly smoothed over by suspenseful music thrumming underneath: This is adventure, not meditation, the soundtrack says. The incongruity concisely foreshadows the jumbled film to come, in which San Francisco filmmakers Amanda McBaine and Jesse Moss search for nuance in a sensational news event while struggling to resist its convenient thrills.\u003c/p>\n\u003cp>\u003cem>The Mission\u003c/em> retells the viral story of American missionary John Chau, who in November 2018 disappeared off the coast of North Sentinel Island while trying to convert the island’s Indigenous people to Christianity. The island is home to what may be the last uncontacted Indigenous group on Earth: a Stone Age people who have consistently refused interaction with the outside world by shooting — and several times killing — visitors with arrows. Chau, 26 at the time, eluded Indian naval ships charged with guarding the island by hitching a ride on a small wooden fishing boat. It is believed that after twice rebuffing his entreaties, tribesmen killed Chau and buried him on their shore.\u003c/p>\n\u003cfigure id=\"attachment_13937530\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/TheMission_UHD_39_2000.jpg\" alt=\"A man in a yellow kayak holds a pink fish above his head as people walk from beach into water\" width=\"2000\" height=\"832\" class=\"size-full wp-image-13937530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-1020x424.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-768x319.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-1536x639.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-1920x799.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of John showing gifts he brought as he approaches the Sentinelese. \u003ccite>(Courtesy National Geographic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chau’s death drew breathless media coverage from across the globe, and a logline for \u003cem>The Mission\u003c/em> reads that the documentary “uncovers the gripping story behind the headlines.” But it’s difficult to discern what in the film, if anything, needed uncovering. The movie contributes little information that wasn’t previously reported in \u003ca href=\"https://www.theguardian.com/world/2019/feb/03/john-chau-christian-missionary-death-sentinelese\">newspaper features\u003c/a> or \u003ca href=\"https://www.outsideonline.com/outdoor-adventure/exploration-survival/john-allen-chau-life-death-north-sentinel/\">magazine narratives\u003c/a>, revolving loosely, instead, around widely reported entries from Chau’s journal and a publicly shared letter from his father, who declined to otherwise participate. \u003c/p>\n\u003cp>The resultant portrait is less vivid than what emerges in written narratives. McBain and Moss hire voice actors to read from Chau’s diary entries and his father’s letter, and play the readings over animated reenactments drawn in a hazy oil-paint style. The animation proves a creative solution to the filmmakers’ lack of access, but like all documentary reenactment, the performances wind up constrained by reality. Likewise, the written words are constrained by the actors’ specific dramatic choices. Where the diary entries take on a certain symbolic weight when presented unadorned on a written page, they become itchy and over-dramatized in the readings, leaving an impersonation of Chau rather than any sense of his true self. \u003c/p>\n\u003cfigure id=\"attachment_13937532\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/TheMission_UHD_21_2000.jpg\" alt=\"Older man sits at table covered with books and gestures with open hand\" width=\"2000\" height=\"834\" class=\"size-full wp-image-13937532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-1020x425.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-1536x641.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-1920x801.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dan Everett, a professor of linguistics and a former missionary, has both a profound respect for John Chau and a disdain for his actions in ‘The Mission.’ \u003ccite>(Courtesy National Geographic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McBain and Moss add to this source material a host of original interviews with anthropologists, historians and religious experts, as well as archival footage of Chau as a young boy. Ostensibly, the clips are meant to reflect the larger context in which Chau planned and executed his fatal journey, and thus bring him into sharper focus. The clips succeed in this endeavor, to an extent. Histories of the Christian mission movement, for example, give Chau’s conviction mooring and his hubris scale. More often, though, the supplementary materials introduce ideas and subjects that scream out for deeper attention, rendering Chau a distraction. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The truth is Chau has always been the least interesting character in his own story. It is hard to imagine that this documentary would have been made had Chau been killed by a less isolated Indigenous tribe. The intrigue lies instead with the Sentinelese, with their unknown language and their unknown culture. \u003cem>The Mission\u003c/em> shines most brightly when McBain and Moss probe the ethics of this fascination. It is our loss, as viewers, that they keep these ideas at a distance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sffilm.org/event/the-mission/\">The Mission\u003c/a>’ screens Nov. 3, 8 p.m. at Premier Theater (1 Letterman Dr. #B, San Francisco) as part of SFFILM’s \u003ca href=\"https://sffilm.org/2023-festival-program/\">Doc Stories festival\u003c/a>. It opens Nov. 10 at the Landmark Opera Plaza and the Smith Rafael Film Center.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the earliest shots in the documentary \u003cem>\u003ca href=\"https://sffilm.org/event/the-mission/\">The Mission\u003c/a>\u003c/em> hangs from a distance on North Sentinel Island, a remote speck of Indian jungle located along the southeast edge of the Bay of Bengal. Thick, gray clouds clog the sky overhead. Trees, nearly black in the gloom, crowd so close to the water that you can hardly make out a sliver of sandy shore. The island is far away, and it is alone. Its inhabitants, we will soon learn, intend to keep it that way. \u003c/p>\n\u003cp>Seeing the island at such a remove engenders a complicated yearning — \u003cem>why can’t we just push a little bit closer, see a little more clearly\u003c/em>, one wonders. But this complication is quickly smoothed over by suspenseful music thrumming underneath: This is adventure, not meditation, the soundtrack says. The incongruity concisely foreshadows the jumbled film to come, in which San Francisco filmmakers Amanda McBaine and Jesse Moss search for nuance in a sensational news event while struggling to resist its convenient thrills.\u003c/p>\n\u003cp>\u003cem>The Mission\u003c/em> retells the viral story of American missionary John Chau, who in November 2018 disappeared off the coast of North Sentinel Island while trying to convert the island’s Indigenous people to Christianity. The island is home to what may be the last uncontacted Indigenous group on Earth: a Stone Age people who have consistently refused interaction with the outside world by shooting — and several times killing — visitors with arrows. Chau, 26 at the time, eluded Indian naval ships charged with guarding the island by hitching a ride on a small wooden fishing boat. It is believed that after twice rebuffing his entreaties, tribesmen killed Chau and buried him on their shore.\u003c/p>\n\u003cfigure id=\"attachment_13937530\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/TheMission_UHD_39_2000.jpg\" alt=\"A man in a yellow kayak holds a pink fish above his head as people walk from beach into water\" width=\"2000\" height=\"832\" class=\"size-full wp-image-13937530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-1020x424.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-768x319.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-1536x639.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_39_2000-1920x799.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of John showing gifts he brought as he approaches the Sentinelese. \u003ccite>(Courtesy National Geographic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chau’s death drew breathless media coverage from across the globe, and a logline for \u003cem>The Mission\u003c/em> reads that the documentary “uncovers the gripping story behind the headlines.” But it’s difficult to discern what in the film, if anything, needed uncovering. The movie contributes little information that wasn’t previously reported in \u003ca href=\"https://www.theguardian.com/world/2019/feb/03/john-chau-christian-missionary-death-sentinelese\">newspaper features\u003c/a> or \u003ca href=\"https://www.outsideonline.com/outdoor-adventure/exploration-survival/john-allen-chau-life-death-north-sentinel/\">magazine narratives\u003c/a>, revolving loosely, instead, around widely reported entries from Chau’s journal and a publicly shared letter from his father, who declined to otherwise participate. \u003c/p>\n\u003cp>The resultant portrait is less vivid than what emerges in written narratives. McBain and Moss hire voice actors to read from Chau’s diary entries and his father’s letter, and play the readings over animated reenactments drawn in a hazy oil-paint style. The animation proves a creative solution to the filmmakers’ lack of access, but like all documentary reenactment, the performances wind up constrained by reality. Likewise, the written words are constrained by the actors’ specific dramatic choices. Where the diary entries take on a certain symbolic weight when presented unadorned on a written page, they become itchy and over-dramatized in the readings, leaving an impersonation of Chau rather than any sense of his true self. \u003c/p>\n\u003cfigure id=\"attachment_13937532\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/TheMission_UHD_21_2000.jpg\" alt=\"Older man sits at table covered with books and gestures with open hand\" width=\"2000\" height=\"834\" class=\"size-full wp-image-13937532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-800x334.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-1020x425.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-1536x641.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/TheMission_UHD_21_2000-1920x801.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dan Everett, a professor of linguistics and a former missionary, has both a profound respect for John Chau and a disdain for his actions in ‘The Mission.’ \u003ccite>(Courtesy National Geographic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McBain and Moss add to this source material a host of original interviews with anthropologists, historians and religious experts, as well as archival footage of Chau as a young boy. Ostensibly, the clips are meant to reflect the larger context in which Chau planned and executed his fatal journey, and thus bring him into sharper focus. The clips succeed in this endeavor, to an extent. Histories of the Christian mission movement, for example, give Chau’s conviction mooring and his hubris scale. More often, though, the supplementary materials introduce ideas and subjects that scream out for deeper attention, rendering Chau a distraction. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The truth is Chau has always been the least interesting character in his own story. It is hard to imagine that this documentary would have been made had Chau been killed by a less isolated Indigenous tribe. The intrigue lies instead with the Sentinelese, with their unknown language and their unknown culture. \u003cem>The Mission\u003c/em> shines most brightly when McBain and Moss probe the ethics of this fascination. It is our loss, as viewers, that they keep these ideas at a distance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://sffilm.org/event/the-mission/\">The Mission\u003c/a>’ screens Nov. 3, 8 p.m. at Premier Theater (1 Letterman Dr. #B, San Francisco) as part of SFFILM’s \u003ca href=\"https://sffilm.org/2023-festival-program/\">Doc Stories festival\u003c/a>. It opens Nov. 10 at the Landmark Opera Plaza and the Smith Rafael Film Center.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Duane Linklater’s ‘mymothersside,’ Memory is Buried Deep in Objects",
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"content": "\u003cp>When you first turn into the \u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">Berkeley Art Museum and Pacific Film Archive\u003c/a>’s main exhibition space, watch your head. Jutting out from the wall sideways, in a splay of tapered wooden pole-ends, is a massive tepee — or at least the bones of one. The sumac-dyed canvas that might otherwise enfold the structure drapes over one side. What remains are the poles, knotted together near their tips and painted a streaky, ashen white. \u003c/p>\n\u003cp>The effect is twofold: The tepee, that endlessly appropriated icon of pastoral Indigenous life, is disentangled from any cutesy, passive conception. This one could snag you, if you’re not careful. And its exposed frame, sapped of color, becomes skeletal. Something has died. Don’t you remember?\u003c/p>\n\u003cp>\u003ca href=\"https://duanelinklater.com/\">Duane Linklater\u003c/a>, the Omaskêko Cree artist behind this piece, titled \u003cem>dislodgevanishskinground\u003c/em>, is deeply interested in the memory of things. For much of the past two decades, he has created art focused on the jagged edges where Indigenous and non-Native life meet, which is to say he has focused on the ways we have scrubbed clean our national memories to forget that these collisions took place, at one time or another, everywhere. (Linklater is from Northeastern Ontario, in Canada.) For Linklater, the story of colonialism’s bloody expansion — and the memory of all that it snuffed out — is buried deep in the objects we handle and the places we occupy every day.\u003c/p>\n\u003cfigure id=\"attachment_13936300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterInstall2_2000.jpg\" alt=\"Large tepee canvasses hang from metal rods across wide gallery space\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13936300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘wintercount_215_kisepîsim, mistranslate_wolftreeriver_ininîmowinîhk’ in ‘mymothersside’ at BAMPFA. \u003ccite>(Daria Lugina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">mymothersside\u003c/a>\u003c/em>, BAMPFA’s survey of Linklater’s work from the last decade, serves as an excavation of these memories. It includes some 30 pieces in sculpture, painting and film, as well as one permanent architectural installation. Linklater composed almost all of the works from materials important to his and other Native cultures: animal hides, saplings, sumac, cochineal and charcoal. (These material choices render one major outlier — a series of colorless 3D-printed replicas of Indigenous artifacts from the Utah Museum of Fine Arts in Salt Lake City — utterly lifeless by comparison).\u003c/p>\n\u003cp>The exhibition debuted at Seattle’s Frye Museum in 2022, followed by a stint at the Museum of Contemporary Art Chicago. But BAMPFA’s version is the largest yet, with room enough for a dynamic installation seen only once before, at the \u003ca href=\"https://whitney.org/exhibitions/2022-biennial?section=34#exhibition-feature\">2022 Whitney Biennial\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That piece, titled \u003cem>wintercount_215_kisepîsim, mistranslate_wolftreeriver_ininîmowinîhk\u003c/em>, involves six painted tepee-canvas rounds hung from metal rods, which themselves hang some eight feet high via steel cables attached to the ceiling. The covers, stained with blueberry, orange pekoe tea and other natural dyes, drape downward in semicircles, gently bunching on the floor. Visitors are invited to walk between them — an enveloping warmth against the museum’s sterile white walls. \u003c/p>\n\u003cp>Linklater has said he intends for this installation to be rearranged over the course of the exhibition, a reference to the flexibility of the tepee covers as a form of portable architecture. But in concert with the show’s other works, the choice also reflects a desire for audiences to meet the art on ethnographic as well as aesthetic terms. In this way the covers are more than sculptural objects in the formalist sense; they serve a practical and ritual purpose — they evince a history. To treat them accordingly prevents the museum from obscuring this essential fact for its visitors, and thus from perpetuating an erasure in which museums generally have played an outsize role. \u003c/p>\n\u003cfigure id=\"attachment_13936301\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterInstall_2000.jpg\" alt=\"A white-pole tepee sculpture in a gallery space, with a wall behind partially demolished, red paint on the metal beams spells out words\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13936301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘mymothersside’ at BAMPFA with ‘What Then Remainz’ in the background. \u003ccite>(Daria Lugina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in case this institutional duty was unclear, \u003cem>mymothersside\u003c/em> includes a brasher approach. Linklater’s installation \u003cem>What Then Remainz\u003c/em> required BAMPFA to deconstruct the exhibition’s far wall, stripping it to its metalwork and insulation. The museum had to then rearrange the steel framing and use red acrylic paint to spell out the titular phrase, borrowed from \u003ca href=\"https://www.scotusblog.com/case-files/cases/dollar-general-corporation-v-mississippi-band-of-choctaw-indians/\">a controversial United States Supreme Court decision\u003c/a> determining the jurisdiction of tribal lands. When the exhibition is over, drywall will be reapplied over the framing, leaving the phrase in place indefinitely.\u003c/p>\n\u003cp>I had seen this piece before, constructed for previous shows (at least three museums contain the inscription). Not knowing better, I expected the rest of Linklater’s exhibition to be as pugilistic, fueled by the sort of righteous fury that inflames the work of other artists preoccupied by legacies of colonial violence, like Kara Walker or Jaune Quick-to-See Smith.\u003c/p>\n\u003cp>But \u003cem>mymothersside\u003c/em> is almost unwaveringly tranquil. Look at \u003cem>Modest Livelihood\u003c/em>, a silent, 50-minute documentary film playing on a loop in a darkened corner of the exhibition. The title is a response to a \u003ca href=\"https://www.canlii.org/en/ca/scc/doc/1999/1999canlii665/1999canlii665.html?autocompleteStr=marshall&autocompletePos=1\">1999 Canadian Supreme Court ruling\u003c/a> that Indigenous people can only fish enough food to sustain a “moderate livelihood” — a preposterous restriction that Linklater counters not with fiery indignation, but with serenity. \u003c/p>\n\u003cfigure id=\"attachment_13936302\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000.jpg\" alt=\"Video projection of two figures cutting apart an animal carcass in snow, bench in front of video\" width=\"2000\" height=\"1337\" class=\"size-full wp-image-13936302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1920x1284.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Duane Linklater, ‘Modest Livelihood,’ 2012; Super 16mm film, transferred to blu-ray; 50 minutes. \u003ccite>(Courtesy Catriona Jeffries, Vancouver; Photo by Jueqian Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film follows Linklater, Dane-zaa artist Brian Jungen, and Dane-zaa elder Jack Askoty on a moose hunt in tribal territory of northern British Columbia. The camera keeps mostly on the men’s backs, drifting lazily to capture rustling trees or sunlight blinking through grass. One minute-and-a-half long landscape shot — a spray of carmine shrubs breaking on a yellow-green treeline that sweeps clear back to the Rockies — nearly brought me to tears. The image conveyed a profound reverence for the land. It suggested an artist who had determined that in the face of punishing indifference, one antidote may simply be to care.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\"> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">mymothersside\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive through Feb. 24, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you first turn into the \u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">Berkeley Art Museum and Pacific Film Archive\u003c/a>’s main exhibition space, watch your head. Jutting out from the wall sideways, in a splay of tapered wooden pole-ends, is a massive tepee — or at least the bones of one. The sumac-dyed canvas that might otherwise enfold the structure drapes over one side. What remains are the poles, knotted together near their tips and painted a streaky, ashen white. \u003c/p>\n\u003cp>The effect is twofold: The tepee, that endlessly appropriated icon of pastoral Indigenous life, is disentangled from any cutesy, passive conception. This one could snag you, if you’re not careful. And its exposed frame, sapped of color, becomes skeletal. Something has died. Don’t you remember?\u003c/p>\n\u003cp>\u003ca href=\"https://duanelinklater.com/\">Duane Linklater\u003c/a>, the Omaskêko Cree artist behind this piece, titled \u003cem>dislodgevanishskinground\u003c/em>, is deeply interested in the memory of things. For much of the past two decades, he has created art focused on the jagged edges where Indigenous and non-Native life meet, which is to say he has focused on the ways we have scrubbed clean our national memories to forget that these collisions took place, at one time or another, everywhere. (Linklater is from Northeastern Ontario, in Canada.) For Linklater, the story of colonialism’s bloody expansion — and the memory of all that it snuffed out — is buried deep in the objects we handle and the places we occupy every day.\u003c/p>\n\u003cfigure id=\"attachment_13936300\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterInstall2_2000.jpg\" alt=\"Large tepee canvasses hang from metal rods across wide gallery space\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13936300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall2_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘wintercount_215_kisepîsim, mistranslate_wolftreeriver_ininîmowinîhk’ in ‘mymothersside’ at BAMPFA. \u003ccite>(Daria Lugina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">mymothersside\u003c/a>\u003c/em>, BAMPFA’s survey of Linklater’s work from the last decade, serves as an excavation of these memories. It includes some 30 pieces in sculpture, painting and film, as well as one permanent architectural installation. Linklater composed almost all of the works from materials important to his and other Native cultures: animal hides, saplings, sumac, cochineal and charcoal. (These material choices render one major outlier — a series of colorless 3D-printed replicas of Indigenous artifacts from the Utah Museum of Fine Arts in Salt Lake City — utterly lifeless by comparison).\u003c/p>\n\u003cp>The exhibition debuted at Seattle’s Frye Museum in 2022, followed by a stint at the Museum of Contemporary Art Chicago. But BAMPFA’s version is the largest yet, with room enough for a dynamic installation seen only once before, at the \u003ca href=\"https://whitney.org/exhibitions/2022-biennial?section=34#exhibition-feature\">2022 Whitney Biennial\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That piece, titled \u003cem>wintercount_215_kisepîsim, mistranslate_wolftreeriver_ininîmowinîhk\u003c/em>, involves six painted tepee-canvas rounds hung from metal rods, which themselves hang some eight feet high via steel cables attached to the ceiling. The covers, stained with blueberry, orange pekoe tea and other natural dyes, drape downward in semicircles, gently bunching on the floor. Visitors are invited to walk between them — an enveloping warmth against the museum’s sterile white walls. \u003c/p>\n\u003cp>Linklater has said he intends for this installation to be rearranged over the course of the exhibition, a reference to the flexibility of the tepee covers as a form of portable architecture. But in concert with the show’s other works, the choice also reflects a desire for audiences to meet the art on ethnographic as well as aesthetic terms. In this way the covers are more than sculptural objects in the formalist sense; they serve a practical and ritual purpose — they evince a history. To treat them accordingly prevents the museum from obscuring this essential fact for its visitors, and thus from perpetuating an erasure in which museums generally have played an outsize role. \u003c/p>\n\u003cfigure id=\"attachment_13936301\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/LinklaterInstall_2000.jpg\" alt=\"A white-pole tepee sculpture in a gallery space, with a wall behind partially demolished, red paint on the metal beams spells out words\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13936301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/LinklaterInstall_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘mymothersside’ at BAMPFA with ‘What Then Remainz’ in the background. \u003ccite>(Daria Lugina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in case this institutional duty was unclear, \u003cem>mymothersside\u003c/em> includes a brasher approach. Linklater’s installation \u003cem>What Then Remainz\u003c/em> required BAMPFA to deconstruct the exhibition’s far wall, stripping it to its metalwork and insulation. The museum had to then rearrange the steel framing and use red acrylic paint to spell out the titular phrase, borrowed from \u003ca href=\"https://www.scotusblog.com/case-files/cases/dollar-general-corporation-v-mississippi-band-of-choctaw-indians/\">a controversial United States Supreme Court decision\u003c/a> determining the jurisdiction of tribal lands. When the exhibition is over, drywall will be reapplied over the framing, leaving the phrase in place indefinitely.\u003c/p>\n\u003cp>I had seen this piece before, constructed for previous shows (at least three museums contain the inscription). Not knowing better, I expected the rest of Linklater’s exhibition to be as pugilistic, fueled by the sort of righteous fury that inflames the work of other artists preoccupied by legacies of colonial violence, like Kara Walker or Jaune Quick-to-See Smith.\u003c/p>\n\u003cp>But \u003cem>mymothersside\u003c/em> is almost unwaveringly tranquil. Look at \u003cem>Modest Livelihood\u003c/em>, a silent, 50-minute documentary film playing on a loop in a darkened corner of the exhibition. The title is a response to a \u003ca href=\"https://www.canlii.org/en/ca/scc/doc/1999/1999canlii665/1999canlii665.html?autocompleteStr=marshall&autocompletePos=1\">1999 Canadian Supreme Court ruling\u003c/a> that Indigenous people can only fish enough food to sustain a “moderate livelihood” — a preposterous restriction that Linklater counters not with fiery indignation, but with serenity. \u003c/p>\n\u003cfigure id=\"attachment_13936302\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000.jpg\" alt=\"Video projection of two figures cutting apart an animal carcass in snow, bench in front of video\" width=\"2000\" height=\"1337\" class=\"size-full wp-image-13936302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Frye-20210921-Linklater-223_2000-1920x1284.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Duane Linklater, ‘Modest Livelihood,’ 2012; Super 16mm film, transferred to blu-ray; 50 minutes. \u003ccite>(Courtesy Catriona Jeffries, Vancouver; Photo by Jueqian Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film follows Linklater, Dane-zaa artist Brian Jungen, and Dane-zaa elder Jack Askoty on a moose hunt in tribal territory of northern British Columbia. The camera keeps mostly on the men’s backs, drifting lazily to capture rustling trees or sunlight blinking through grass. One minute-and-a-half long landscape shot — a spray of carmine shrubs breaking on a yellow-green treeline that sweeps clear back to the Rockies — nearly brought me to tears. The image conveyed a profound reverence for the land. It suggested an artist who had determined that in the face of punishing indifference, one antidote may simply be to care.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\"> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/program/duane-linklater-mymothersside\">mymothersside\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive through Feb. 24, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"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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"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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"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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"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.",
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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",
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"pri-the-world": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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