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"title": "Kids and Parents Protest Far-Right at Conservatory of Flowers",
"headTitle": "Kids and Parents Protest Far-Right at Conservatory of Flowers | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">In the Bay Area, standing up against far-right ideologies is a family concern. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More than 70 parents and young children met up at the Conservatory of Flowers in Golden Gate Park on Saturday morning for “The Cutest Lil Counter Protest,” an event seeking to create a safe space for families to join in the local day of actions in response to the far-right rallies planned in San Francisco and Berkeley this weekend.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event began at 11 a.m. with a group photo of the gathered families, many of whom showed up in costume. Then the group marched across the street to the de Young Museum, where the kids got to play with bubble machines. Some families continued on to the Botanical Gardens, where the march officially ended. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806571\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-800x453.jpg\" alt=\"Some of the families came out in costume, such as Andrea, Mike and Owen Hanna, who were dressed in space garb.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the families came out in costume, such as Andrea, Mike and Owen Hanna, who were dressed in space garb. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wanted to create a space where parents could feel comfortable bringing their kids,” said Sarah Ma, one of the organizers of The Cutest Lil Counter Protest. “We wanted to turn out for our city. We wanted to be counted, we wanted to be visible, so this was a great place to do it.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ma says the idea for the event came about during an online brainstorm with her local mom’s group shortly after the violent far-right rallies and counter-protests in Charlottesville, VA two weekends ago. Upon hearing that the Patriot Prayer organization was planning a similar rally for San Francisco, Ma says her group knew they had to join the counter-protest, but in a way that would be accessible to parents with young children. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806572\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-800x451.jpg\" alt=\"Some 70-plus people showed up at the Conservatory of Flowers to participate in The Cutest Lil Counter Protest.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some 70-plus people showed up at the Conservatory of Flowers to participate in The Cutest Lil Counter Protest. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Parent Melinda McConchie heard of the event through her son’s preschool and was happy to find a way she could involve her three-year-old son Sydney in activism at an early age.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We just wanted a family friendly alternative we could both come to and I thought this was just a great idea,” McConchie said. “He could have his first protest with heart signs and it’s a really cute protest. It’s exactly what I think we stand for.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806573\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-800x450.jpg\" alt=\"Kids enjoy bubbles at the de Young museum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kids enjoy bubbles at the de Young museum. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Armed with handmade posters decorated with calls for people to respect others’ rights, nine-year-old Jonas Toberner attended the event with his parents and younger sister. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I wanted to show that we care and that we like San Francisco,” Toberner said. “And we don’t want people who are being negative in our city.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oliver Manangan, 7, echoed this sentiment with his poster, which read, “Peace, Peace, Peace, not KKK.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m out here for Black Lives Matter and because everyone’s lives matter in the world,” Manangan said.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806574\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-800x450.jpg\" alt=\"The Manangan family poses with their posters.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Manangan family poses with their posters. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ma said the sight of strollers decked out with protest signs and toddlers dressed in superhero costumes encapsulated her hope of inspiring young children to be activists.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Our kids are the next generation of voters, activists, and leaders,” Ma said. “We need to show them that their voices have the power to shape their community whether it’s by voting, non-violent resistance or simply talking with their family members. We need to let our kids know that they can grow up to be President one day.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "\"The Cutest Lil Counter Protest\" demonstrates you're never too young to carry a banner and march for your beliefs. ",
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"title": "Kids and Parents Protest Far-Right at Conservatory of Flowers | KQED",
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"headline": "Kids and Parents Protest Far-Right at Conservatory of Flowers",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">In the Bay Area, standing up against far-right ideologies is a family concern. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More than 70 parents and young children met up at the Conservatory of Flowers in Golden Gate Park on Saturday morning for “The Cutest Lil Counter Protest,” an event seeking to create a safe space for families to join in the local day of actions in response to the far-right rallies planned in San Francisco and Berkeley this weekend.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The event began at 11 a.m. with a group photo of the gathered families, many of whom showed up in costume. Then the group marched across the street to the de Young Museum, where the kids got to play with bubble machines. Some families continued on to the Botanical Gardens, where the march officially ended. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806571\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-800x453.jpg\" alt=\"Some of the families came out in costume, such as Andrea, Mike and Owen Hanna, who were dressed in space garb.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_115512-e1503786520659-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the families came out in costume, such as Andrea, Mike and Owen Hanna, who were dressed in space garb. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wanted to create a space where parents could feel comfortable bringing their kids,” said Sarah Ma, one of the organizers of The Cutest Lil Counter Protest. “We wanted to turn out for our city. We wanted to be counted, we wanted to be visible, so this was a great place to do it.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ma says the idea for the event came about during an online brainstorm with her local mom’s group shortly after the violent far-right rallies and counter-protests in Charlottesville, VA two weekends ago. Upon hearing that the Patriot Prayer organization was planning a similar rally for San Francisco, Ma says her group knew they had to join the counter-protest, but in a way that would be accessible to parents with young children. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806572\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-800x451.jpg\" alt=\"Some 70-plus people showed up at the Conservatory of Flowers to participate in The Cutest Lil Counter Protest.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5034-e1503786654548-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some 70-plus people showed up at the Conservatory of Flowers to participate in The Cutest Lil Counter Protest. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Parent Melinda McConchie heard of the event through her son’s preschool and was happy to find a way she could involve her three-year-old son Sydney in activism at an early age.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We just wanted a family friendly alternative we could both come to and I thought this was just a great idea,” McConchie said. “He could have his first protest with heart signs and it’s a really cute protest. It’s exactly what I think we stand for.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806573\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-800x450.jpg\" alt=\"Kids enjoy bubbles at the de Young museum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_5036-e1503786800747-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kids enjoy bubbles at the de Young museum. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Armed with handmade posters decorated with calls for people to respect others’ rights, nine-year-old Jonas Toberner attended the event with his parents and younger sister. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I wanted to show that we care and that we like San Francisco,” Toberner said. “And we don’t want people who are being negative in our city.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oliver Manangan, 7, echoed this sentiment with his poster, which read, “Peace, Peace, Peace, not KKK.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m out here for Black Lives Matter and because everyone’s lives matter in the world,” Manangan said.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806574\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-800x450.jpg\" alt=\"The Manangan family poses with their posters.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170826_120359-e1503786884449-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Manangan family poses with their posters. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ma said the sight of strollers decked out with protest signs and toddlers dressed in superhero costumes encapsulated her hope of inspiring young children to be activists.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Our kids are the next generation of voters, activists, and leaders,” Ma said. “We need to show them that their voices have the power to shape their community whether it’s by voting, non-violent resistance or simply talking with their family members. We need to let our kids know that they can grow up to be President one day.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Ghost Ship Victims Live On in ‘Requiem Without Words’ | KQED",
"content": "\u003cp>Last December’s Ghost Ship warehouse fire covered the Bay Area with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/04/it-could-have-been-any-one-of-us/\" target=\"_blank\" rel=\"noopener noreferrer\">grief\u003c/a>. But the fierce unity that grew in its wake forged a sense of community, and inspired composer and Pittsburg resident Arturo Rodriguez to create a requiem mass to honor the 36 victims who died in the blaze and reflect on the resilience of Oakland’s creative life. “I thought of it more as a noble statement to them than a sad one,” Rodriguez says.\u003c/p>\n\u003cp>A section of Rodriguez’s new \u003cem>Requiem Sinfonica (Requiem Without Words)\u003c/em> premiered at \u003ca href=\"http://www.awesomeorchestra.org/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Awesome Orchestra Collective\u003c/a>’s open session outside the Oakland Public Library Tuesday evening. While traditional requiems — masses for the dead — are usually composed with giant choirs, Rodriguez says the voiceless, instrument-only tribute serves as a poignant reminder of the lives lost seven months ago.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcr/2017/08/00127963.mp3\" title=\"Ghost Ship Victims Live On in 'Requiem Without Words'\" program=\"The California Report\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/awesomedavid-1920x1152.jpg\"]\u003c/p>\n\u003cp>“These people’s voices aren’t going to be heard again,” Rodriguez, 31, says. “I wanted the piece to be an emotional connection to the music rather than the words.”\u003c/p>\n\u003cp>The composition, which has been in production since mid-January, came to fruition with the help of the Awesöme Orchestra collective, in which Rodriguez plays the flute. The collective’s various connections to victims and survivors of the Ghost Ship fire and its own inception in a West Oakland warehouse makes the collaboration all the more poignant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/-LXlttwHgKc\u003c/p>\n\u003cp>“These people are part of our extended musical family,” says Awesome Orchestra’s founding director and conductor David Möschler. “We owe it to them to continue to perform and hold up the ideals of the warehouse community.”\u003c/p>\n\u003cp>The piece brought up different emotions in the people who gathered outside Oakland Public Library to listen.\u003c/p>\n\u003cp>“You can’t help but remember the fact that folks in the Ghost Ship that night were there for community and music and making art,” says San Francisco artist Isaac Amala, who lost a friend to the Ghost Ship fire. “Feeling and hearing the spirit of community and musicians coming together was really beautiful.”\u003c/p>\n\u003cp>For designer and Oakland resident Alyssa Young, who also lost friends in the fire, the music brought up painful memories.\u003c/p>\n\u003cfigure id=\"attachment_13794214\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13794214\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/feature.jpg\" alt=\"David Moschler conducts the orchestra during an open session at Oakland Public Library on Tuesday, Aug. 1.\" width=\"768\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature-520x312.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">David Möschler conducts the orchestra during an open session at Oakland Public Library on Tuesday, Aug. 1. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I certainly had a lot of mental images of the walls burning, especially of the very rickety staircase falling, which was what trapped a lot of people up on the second floor,” Young says. “I guess it’s a little bit of self-torture in a way, like discomfort.”\u003c/p>\n\u003cp>Young believes that Rodriguez’s piece can also serve as an impetus for renewed support for \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/artists-and-makers-lose-another-east-bay-warehouse-space/\" target=\"_blank\" rel=\"noopener noreferrer\">vulnerable communities\u003c/a> living and working in spaces like the Ghost Ship.\u003c/p>\n\u003cp>“There’s obviously people who are still hurting, now that the general public interest has died down,” Young says. “I think now is the time to really be making inquiries — now’s really the time to offer the support.”\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/RDnews/2017/08/GhostShipRequiem1.mp3\" title=\"Requiem Sinfonica (Requiem Without Words)\" program=\"The California Report\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/feature.jpg\"]\u003c/p>\n\u003cp>The audience heard only the opening movement from the work on Tuesday night; Rodriguez and Möschler are planning a full performance at the end of the year. But Rodriguez hopes the preview reminds audiences of the sense of togetherness found in the wake of the Ghost Ship fire.\u003c/p>\n\u003cp>“In musical terms the piece starts out in a really sad key — E minor — and it ends in E minor, but it has this motion in it of determination,” he says. “Ultimately I want people to be brought together by this music.”\u003c/p>\n\u003cfigure id=\"attachment_13794216\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13794216\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/audience.jpg\" alt=\"An audience member looks on as the Awesome Orchestra performs on Tuesday, Aug. 1 at the Oakland Public Library.\" width=\"768\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience-520x312.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">An audience member looks on as the Awesöme Orchestra performs on Tuesday, Aug. 1 at the Oakland Public Library. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "A new requiem mass by composer Arturo Rodriguez honoring victims of the Oakland Warehouse fire received its first public airing in Oakland Tuesday night.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last December’s Ghost Ship warehouse fire covered the Bay Area with \u003ca href=\"https://ww2.kqed.org/arts/2016/12/04/it-could-have-been-any-one-of-us/\" target=\"_blank\" rel=\"noopener noreferrer\">grief\u003c/a>. But the fierce unity that grew in its wake forged a sense of community, and inspired composer and Pittsburg resident Arturo Rodriguez to create a requiem mass to honor the 36 victims who died in the blaze and reflect on the resilience of Oakland’s creative life. “I thought of it more as a noble statement to them than a sad one,” Rodriguez says.\u003c/p>\n\u003cp>A section of Rodriguez’s new \u003cem>Requiem Sinfonica (Requiem Without Words)\u003c/em> premiered at \u003ca href=\"http://www.awesomeorchestra.org/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Awesome Orchestra Collective\u003c/a>’s open session outside the Oakland Public Library Tuesday evening. While traditional requiems — masses for the dead — are usually composed with giant choirs, Rodriguez says the voiceless, instrument-only tribute serves as a poignant reminder of the lives lost seven months ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“These people’s voices aren’t going to be heard again,” Rodriguez, 31, says. “I wanted the piece to be an emotional connection to the music rather than the words.”\u003c/p>\n\u003cp>The composition, which has been in production since mid-January, came to fruition with the help of the Awesöme Orchestra collective, in which Rodriguez plays the flute. The collective’s various connections to victims and survivors of the Ghost Ship fire and its own inception in a West Oakland warehouse makes the collaboration all the more poignant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/-LXlttwHgKc'\n title='//www.youtube.com/embed/-LXlttwHgKc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“These people are part of our extended musical family,” says Awesome Orchestra’s founding director and conductor David Möschler. “We owe it to them to continue to perform and hold up the ideals of the warehouse community.”\u003c/p>\n\u003cp>The piece brought up different emotions in the people who gathered outside Oakland Public Library to listen.\u003c/p>\n\u003cp>“You can’t help but remember the fact that folks in the Ghost Ship that night were there for community and music and making art,” says San Francisco artist Isaac Amala, who lost a friend to the Ghost Ship fire. “Feeling and hearing the spirit of community and musicians coming together was really beautiful.”\u003c/p>\n\u003cp>For designer and Oakland resident Alyssa Young, who also lost friends in the fire, the music brought up painful memories.\u003c/p>\n\u003cfigure id=\"attachment_13794214\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13794214\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/feature.jpg\" alt=\"David Moschler conducts the orchestra during an open session at Oakland Public Library on Tuesday, Aug. 1.\" width=\"768\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/feature-520x312.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">David Möschler conducts the orchestra during an open session at Oakland Public Library on Tuesday, Aug. 1. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I certainly had a lot of mental images of the walls burning, especially of the very rickety staircase falling, which was what trapped a lot of people up on the second floor,” Young says. “I guess it’s a little bit of self-torture in a way, like discomfort.”\u003c/p>\n\u003cp>Young believes that Rodriguez’s piece can also serve as an impetus for renewed support for \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/artists-and-makers-lose-another-east-bay-warehouse-space/\" target=\"_blank\" rel=\"noopener noreferrer\">vulnerable communities\u003c/a> living and working in spaces like the Ghost Ship.\u003c/p>\n\u003cp>“There’s obviously people who are still hurting, now that the general public interest has died down,” Young says. “I think now is the time to really be making inquiries — now’s really the time to offer the support.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The audience heard only the opening movement from the work on Tuesday night; Rodriguez and Möschler are planning a full performance at the end of the year. But Rodriguez hopes the preview reminds audiences of the sense of togetherness found in the wake of the Ghost Ship fire.\u003c/p>\n\u003cp>“In musical terms the piece starts out in a really sad key — E minor — and it ends in E minor, but it has this motion in it of determination,” he says. “Ultimately I want people to be brought together by this music.”\u003c/p>\n\u003cfigure id=\"attachment_13794216\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13794216\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/audience.jpg\" alt=\"An audience member looks on as the Awesome Orchestra performs on Tuesday, Aug. 1 at the Oakland Public Library.\" width=\"768\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/audience-520x312.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">An audience member looks on as the Awesöme Orchestra performs on Tuesday, Aug. 1 at the Oakland Public Library. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "artists-evicted-from-commercially-zoned-bernal-heights-warehouse",
"title": "Artists Evicted from Commercially Zoned Bernal Heights Warehouse",
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"content": "\u003cp>Deputies from the San Francisco Sheriff’s Department evicted tenants from an arts warehouse in Bernal Heights early Wednesday afternoon, marking what might be the first court-sanctioned San Francisco arts warehouse eviction since last December’s deadly \u003ca href=\"https://ww2.kqed.org/news/2017/01/12/ghost-ship-fire-prompts-sffd-to-consider-random-warehouse-inspections/\" target=\"_blank\" rel=\"noopener\">Ghost Ship fire\u003c/a>.\u003c/p>\n\u003cp>In March, a San Francisco Superior Court judge ruled that the occupants of 968 Peralta Avenue were living unlawfully in a commercially leased building. The eight residents, who failed to successfully appeal their eviction notice, had until Wednesday morning to load their belongings into boxes before deputies arrived to escort them out.\u003c/p>\n\u003cfigure id=\"attachment_13114711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13114711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_6983-800x600.jpg\" alt=\"Tenants empty the Bernal Heights converted warehouse before deputies arrive.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tenants empty the Bernal Heights converted warehouse before deputies arrive. \u003ccite>(Photo: Nathan Cottam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Landlord Ron Erickson has owned and rented out the building for 17 years. Erickson says he called for the tenants’ eviction after visiting the space last December and finding out it had been converted into an eight-bedroom apartment.\u003c/p>\n\u003cp>“They violated the lease,” Erickson says. “My job is property management. I live by the rules and I live by the laws.”\u003c/p>\n\u003cp>Erickson says he plans to gut the building and turn it back into a warehouse, though he says he might eventually turn it into housing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Choreographer Nathan Cottam has been living in the building since October 2014. He says that the landlord has known people were living in the space for at least 15 years. Erickson denies this claim.\u003c/p>\n\u003cfigure id=\"attachment_13114715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13114715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_6975-800x600.jpg\" alt=\"The Bernal Heights warehouse housed eight tenants, most of whom were artists in different mediums.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bernal Heights warehouse housed eight tenants, most of whom were artists in different mediums. \u003ccite>(Photo: Nathan Cottam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The whole lot has been used for residential purposes since 2001,” Cottam says. “The landlord had been operating under ‘I don’t care what you do there, just keep me out of it.’”\u003c/p>\n\u003cp>Following the Ghost Ship fire, Cottam says he and his fellow tenants hoped to ensure their safety by being upfront with the personnel from city agencies who came to inspect the property. Cottom says the building underwent multiple fire department inspections and hearings, and that it was cleared of safety breaches.\u003c/p>\n\u003cp>KQED \u003ca href=\"https://data.sfgov.org/Housing-and-Buildings/Fire-Inspections/wb4c-6hwj/data\" target=\"_blank\" rel=\"noopener\">was able to confirm\u003c/a> the fire department did conduct three violation inspections at the property and one hearing re-inspection between December of last year and this past February. The inspection status for all four is listed “pending.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4frp1ZnjO0Q&feature=youtu.be\u003c/p>\n\u003cp>Cottam says he and the other residents applied to get rent control on the building when they were first served their eviction notice. The city handles these types of issues on a \u003ca href=\"https://www.sftu.org/rentcontrol/#Commercial_Units_Used_as_Residential_with_the_Landlord8217s_Knowledge_Are_Not_Exempt_from_Rent_Control\" target=\"_blank\" rel=\"noopener\">case-by-case basis\u003c/a>. “This is an unusual case,” says San Francisco Rent Board executive director Robert Collins. Cottam had expected a response from the rent control board in the next two weeks — a decision that may now be moot.\u003c/p>\n\u003cp>Tenant and artist Tony Burgess, who has lived in the space for more than a year and a half, was loading his boxed belongings onto a U-Haul truck as deputies arrived. Burgess is well aware of the dangers that can befall converted spaces, and says he lost 10 friends to the Ghost Ship fire. But the eviction caught him off guard.\u003c/p>\n\u003cp>“I will probably get a storage unit for my stuff,” Burgess says. “I have no idea where I’ll go or where I’ll sleep tonight.”\u003c/p>\n\u003cp>Cottam plans on moving in with a friend in the Sunset for a few nights. He says he’s heartbroken about leaving the home he’s worked hard to make safe, but he’s trying to stay positive. “I’m gonna keep going,” Cottam says. I’m gonna find a way.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Claudia Escobar and Tiffany Camhi.\u003c/em>\u003c/p>\n\n",
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"title": "Artists Evicted from Commercially Zoned Bernal Heights Warehouse | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Deputies from the San Francisco Sheriff’s Department evicted tenants from an arts warehouse in Bernal Heights early Wednesday afternoon, marking what might be the first court-sanctioned San Francisco arts warehouse eviction since last December’s deadly \u003ca href=\"https://ww2.kqed.org/news/2017/01/12/ghost-ship-fire-prompts-sffd-to-consider-random-warehouse-inspections/\" target=\"_blank\" rel=\"noopener\">Ghost Ship fire\u003c/a>.\u003c/p>\n\u003cp>In March, a San Francisco Superior Court judge ruled that the occupants of 968 Peralta Avenue were living unlawfully in a commercially leased building. The eight residents, who failed to successfully appeal their eviction notice, had until Wednesday morning to load their belongings into boxes before deputies arrived to escort them out.\u003c/p>\n\u003cfigure id=\"attachment_13114711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13114711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_6983-800x600.jpg\" alt=\"Tenants empty the Bernal Heights converted warehouse before deputies arrive.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6983.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tenants empty the Bernal Heights converted warehouse before deputies arrive. \u003ccite>(Photo: Nathan Cottam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Landlord Ron Erickson has owned and rented out the building for 17 years. Erickson says he called for the tenants’ eviction after visiting the space last December and finding out it had been converted into an eight-bedroom apartment.\u003c/p>\n\u003cp>“They violated the lease,” Erickson says. “My job is property management. I live by the rules and I live by the laws.”\u003c/p>\n\u003cp>Erickson says he plans to gut the building and turn it back into a warehouse, though he says he might eventually turn it into housing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Choreographer Nathan Cottam has been living in the building since October 2014. He says that the landlord has known people were living in the space for at least 15 years. Erickson denies this claim.\u003c/p>\n\u003cfigure id=\"attachment_13114715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13114715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_6975-800x600.jpg\" alt=\"The Bernal Heights warehouse housed eight tenants, most of whom were artists in different mediums.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_6975.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bernal Heights warehouse housed eight tenants, most of whom were artists in different mediums. \u003ccite>(Photo: Nathan Cottam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The whole lot has been used for residential purposes since 2001,” Cottam says. “The landlord had been operating under ‘I don’t care what you do there, just keep me out of it.’”\u003c/p>\n\u003cp>Following the Ghost Ship fire, Cottam says he and his fellow tenants hoped to ensure their safety by being upfront with the personnel from city agencies who came to inspect the property. Cottom says the building underwent multiple fire department inspections and hearings, and that it was cleared of safety breaches.\u003c/p>\n\u003cp>KQED \u003ca href=\"https://data.sfgov.org/Housing-and-Buildings/Fire-Inspections/wb4c-6hwj/data\" target=\"_blank\" rel=\"noopener\">was able to confirm\u003c/a> the fire department did conduct three violation inspections at the property and one hearing re-inspection between December of last year and this past February. The inspection status for all four is listed “pending.”\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/4frp1ZnjO0Q'\n title='//www.youtube.com/embed/4frp1ZnjO0Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cottam says he and the other residents applied to get rent control on the building when they were first served their eviction notice. The city handles these types of issues on a \u003ca href=\"https://www.sftu.org/rentcontrol/#Commercial_Units_Used_as_Residential_with_the_Landlord8217s_Knowledge_Are_Not_Exempt_from_Rent_Control\" target=\"_blank\" rel=\"noopener\">case-by-case basis\u003c/a>. “This is an unusual case,” says San Francisco Rent Board executive director Robert Collins. Cottam had expected a response from the rent control board in the next two weeks — a decision that may now be moot.\u003c/p>\n\u003cp>Tenant and artist Tony Burgess, who has lived in the space for more than a year and a half, was loading his boxed belongings onto a U-Haul truck as deputies arrived. Burgess is well aware of the dangers that can befall converted spaces, and says he lost 10 friends to the Ghost Ship fire. But the eviction caught him off guard.\u003c/p>\n\u003cp>“I will probably get a storage unit for my stuff,” Burgess says. “I have no idea where I’ll go or where I’ll sleep tonight.”\u003c/p>\n\u003cp>Cottam plans on moving in with a friend in the Sunset for a few nights. He says he’s heartbroken about leaving the home he’s worked hard to make safe, but he’s trying to stay positive. “I’m gonna keep going,” Cottam says. I’m gonna find a way.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Claudia Escobar and Tiffany Camhi.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "We, the People, in a Middle-School Classroom in San Francisco",
"headTitle": "We, the People, in a Middle-School Classroom in San Francisco | KQED",
"content": "\u003cp>Inspired by the wide variety of \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"\" rel=\"noopener\">artistic responses\u003c/a> to the Trump administration in the Bay Area and beyond, visual arts instructor Caren Andrews this year challenged her middle school students at \u003ca href=\"http://www.sffriendsschool.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Friends School\u003c/a> to add their own voices to the nationwide conversation.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>“Our kids had an intuitive understanding of why we create art, whether it’s to add beauty to the world or reflect ourselves,” Andrews says. “But we found that they struggled with their connection to art and action.”\u003c/p>\n\u003cp>Andrews hoped to forge that connection by asking her students to interpret the U.S. Constitution. The teacher saw the 228-year-old document governing the law of the land and its people as being particularly vital in an era where civil rights are constantly up for debate.\u003c/p>\n\u003cp>Inspired by a 1960s Bill of Rights poster published by the American Civil Liberties Union (ACLU), Andrews’ students created their own set of posters examining constitutional amendments. Andrews also encouraged her students to respond through visual art to other political issues, such as the gender pay gap and abortion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Responses included a giant mouth representing the U.S.’s excessive consumption of global resources, and a person flailing off a treadmill as a way to represent the right to a speedy trial. But all are rooted in a deep reflection of the tangible relationship between this country’s laws and the students’ own lives.\u003c/p>\n\u003cfigure id=\"attachment_13103191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13103191\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/billie-lgbt-800x531.png\" alt='\"Raising the Flag on America\" by Billie Breskin.' width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-960x637.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-240x159.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-375x249.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-520x345.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt.png 1011w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Raising the Flag on America” by Billie Breskin. \u003ccite>(Courtesy of Caren Andrews)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eighth grader Billie Breskin re-purposed the iconic photograph “Raising the Flag on Iwo Jima” by replacing the stars and stripes in the famous wartime image with the rainbow colors of Gay Pride. Breskin hopes her poster will open up a discussion about gay marriage legislation in the U.S.\u003c/p>\n\u003cp>“Part of being American is protecting what’s back home,” Breskin says. “I wanted to do something truly patriotic, but present it in a way that includes the LGBT community.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BR_4YRpBAkn/\u003c/p>\n\u003cp>The poster project is part of a class Andrews teaches at the school, titled \u003cem>The Space Between: Art, Justice, and Action\u003c/em>. The class is aimed at finding active ways for students to question their roles both as artists and cultural consumers, especially in the era of fake news and the potential \u003ca href=\"http://www.npr.org/2017/03/16/520401246/trumps-budget-plan-cuts-funding-for-arts-humanities-and-public-media\" target=\"_blank\" rel=\"noopener\">de-funding of public arts programs\u003c/a>.\u003c/p>\n\u003cp>“I want them to be critical thinkers, to understand when they’re being pandered to and be discerning consumers,” Andrews says of the goals of the class. “In working with these young people, I feel like I’m developing the young artists-activists of tomorrow and today.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "At San Francisco Friends School, teacher Caren Andrews challenged her students to interpret the Constitution add their voices to the nationwide political conversation through poster art.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inspired by the wide variety of \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"\" rel=\"noopener\">artistic responses\u003c/a> to the Trump administration in the Bay Area and beyond, visual arts instructor Caren Andrews this year challenged her middle school students at \u003ca href=\"http://www.sffriendsschool.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Friends School\u003c/a> to add their own voices to the nationwide conversation.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>“Our kids had an intuitive understanding of why we create art, whether it’s to add beauty to the world or reflect ourselves,” Andrews says. “But we found that they struggled with their connection to art and action.”\u003c/p>\n\u003cp>Andrews hoped to forge that connection by asking her students to interpret the U.S. Constitution. The teacher saw the 228-year-old document governing the law of the land and its people as being particularly vital in an era where civil rights are constantly up for debate.\u003c/p>\n\u003cp>Inspired by a 1960s Bill of Rights poster published by the American Civil Liberties Union (ACLU), Andrews’ students created their own set of posters examining constitutional amendments. Andrews also encouraged her students to respond through visual art to other political issues, such as the gender pay gap and abortion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Responses included a giant mouth representing the U.S.’s excessive consumption of global resources, and a person flailing off a treadmill as a way to represent the right to a speedy trial. But all are rooted in a deep reflection of the tangible relationship between this country’s laws and the students’ own lives.\u003c/p>\n\u003cfigure id=\"attachment_13103191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13103191\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/billie-lgbt-800x531.png\" alt='\"Raising the Flag on America\" by Billie Breskin.' width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-960x637.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-240x159.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-375x249.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-520x345.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt.png 1011w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Raising the Flag on America” by Billie Breskin. \u003ccite>(Courtesy of Caren Andrews)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eighth grader Billie Breskin re-purposed the iconic photograph “Raising the Flag on Iwo Jima” by replacing the stars and stripes in the famous wartime image with the rainbow colors of Gay Pride. Breskin hopes her poster will open up a discussion about gay marriage legislation in the U.S.\u003c/p>\n\u003cp>“Part of being American is protecting what’s back home,” Breskin says. “I wanted to do something truly patriotic, but present it in a way that includes the LGBT community.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The poster project is part of a class Andrews teaches at the school, titled \u003cem>The Space Between: Art, Justice, and Action\u003c/em>. The class is aimed at finding active ways for students to question their roles both as artists and cultural consumers, especially in the era of fake news and the potential \u003ca href=\"http://www.npr.org/2017/03/16/520401246/trumps-budget-plan-cuts-funding-for-arts-humanities-and-public-media\" target=\"_blank\" rel=\"noopener\">de-funding of public arts programs\u003c/a>.\u003c/p>\n\u003cp>“I want them to be critical thinkers, to understand when they’re being pandered to and be discerning consumers,” Andrews says of the goals of the class. “In working with these young people, I feel like I’m developing the young artists-activists of tomorrow and today.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fabricating 'Truth,' One Tin Can Bracelet at a Time",
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"content": "\u003cp>In the process of creating a new piece for her recycled fruit crate label series entitled \u003ca href=\"http://harrieteestelberman.com/truth-california-collection\" target=\"_blank\" rel=\"noopener\">\u003cem>The California Collection\u003c/em>\u003c/a>, San Mateo artist \u003ca href=\"http://harrieteestelberman.com/\" target=\"blank\" rel=\"noopener\">Harriete Estel Berman\u003c/a> found herself drawn to a simply-designed 1930s Sunkist label.\u003c/p>\n\u003cp>Most historic fruit crate labels were typically embellished with images and illustrations that marketed their wares. But the Sunkist label just read “truth,” in a striking golden font.\u003c/p>\n\u003cfigure id=\"attachment_13008673\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13008673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label.jpg\" alt=\"The 1930 Gavilan Citrus Association's "Truth" fruit crate label which inspired Berman's project.\" width=\"500\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-240x222.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-375x347.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">The 1930 Gavilan Citrus Association’s “Truth” fruit crate label which inspired Berman’s project. \u003ccite>(Courtesy of Harriete Estel Berman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In a time when truth was a terribly powerful concept, I felt like it needed nothing else, so I put it away,” Berman says. “But three years later, after the election with 45 — President Donald Trump — we’re faced with this new reality which seems to get worse all the time.” She says the Trump administration’s cries of “\u003ca href=\"http://www.kqed.org/news/story/2017/02/17/226641/with_fake_news_trump_moves_from_alternative_facts_to?source=npr&category=politics\" target=\"_blank\" rel=\"noopener\">fake news\u003c/a>” and alternative facts have made her realize truth was not quite as absolute as she thought it once was.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For the past three decades, Berman has created recycled sculptures and jewelry imbued with critical commentary on everything from \u003ca href=\"http://harrieteestelberman.com/checking-the-cost-of-gun-violence\" target=\"_blank\" rel=\"noopener\">gun violence\u003c/a> to the \u003ca href=\"http://harrieteestelberman.com/identity-bracelets-1\" target=\"_blank\" rel=\"noopener\">creation of identity\u003c/a> within consumer society. \u003cspan style=\"font-weight: 400\">Her \u003cem>California Collection\u003c/em> jewelry series re-purposes fruit crate labels and tin cans to create accessories that reflect on California’s simultaneously consumerist and green culture. Her creative output includes circuit board bracelets inspired by Silicon Valley’s flourishing tech industry and recycled milk bottles transformed into delicately textured jewelry.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in \u003cem>\u003ca href=\"http://harrieteestelberman.com/truth-california-collection\" target=\"_blank\" rel=\"noopener\">Truth\u003c/a>\u003c/em>, the latest addition to her \u003cem>California Collection\u003c/em> series, Berman confronts the current administration’s destabilization of the idea of “truth” \u003cspan style=\"font-weight: 400\">and examines our own responsibility in this new moral climate. \u003c/span>“I’m looking at this word ‘truth’ and I’m here actually, literally fabricating truth – the same way the administration is,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13008674\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13008674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio-.jpg\" alt=\"Harriete in the studio. \" width=\"300\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio-.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio--160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio--240x360.jpg 240w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Harriete in the studio. \u003ccite>(Photo: Aryn Shelander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berman is currently in the process of creating two jewelry pieces that explore the roots of Trump’s current agenda against truth, respectively named \u003cem>Alternative Facts\u003c/em> and \u003cem>Circular Logic. \u003c/em>She spares no symbolism in the construction of each bracelet: \u003cem>Alternative Facts\u003c/em> is formed around a web-like structure echoing the administration’s recent \u003ca href=\"https://ww2.kqed.org/news/2017/03/20/fbi-chief-confirms-agency-is-probing-links-between-russia-trump-associates/\" target=\"_blank\" rel=\"noopener\">web of alleged collusion\u003c/a> with Russia; the face of the bracelet itself is printed with nutritional facts, which Berman considers another instance of “alternative facts” that we experience in our daily lives.\u003c/p>\n\u003cp>Berman’s decades of overtly political work are informed by the historically activist history of jewelry. The artist has taken notes from the patriotic “V for Victory” brooch that was popular during World War II, and peace sign jewelry protesting American involvement in the Vietnam war. Berman believes artists are messengers of a society, as their works are in direct conversation with the values and politics of the current culture.\u003c/p>\n\u003cfigure id=\"attachment_13008675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13008675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-800x450.jpg\" alt='The \"Alternative Facts\" bracelet in progress.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Alternative Facts” bracelet in progress. \u003ccite>(Courtesy of Harriete Estel Berman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">We generally look at past civilizations through their art, from cave paintings to jewelry found at burial sites,” she says.\u003c/span>\u003cb> “\u003c/b>It’s how we evaluate their culture. It’s the most concrete voice that we have.”\u003c/p>\n\u003cp>Berman channels her reflections on politics through making jewelry. But she says the responsibility lies not only on the shoulders of artists to create work that responds to and resists the actions of the current administration.\u003c/p>\n\u003cp>“E\u003cb>\u003cspan style=\"font-weight: 400\">verything is in such an upheaval, and our elected representatives need the support of their constituents,” Berman says. “\u003c/span>\u003c/b>W\u003cb>\u003cspan style=\"font-weight: 400\">e can no longer assume that our government is going to run consistently and fairly without our voice. So you must do anything you can do to raise your voice.”\u003c/span>\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the process of creating a new piece for her recycled fruit crate label series entitled \u003ca href=\"http://harrieteestelberman.com/truth-california-collection\" target=\"_blank\" rel=\"noopener\">\u003cem>The California Collection\u003c/em>\u003c/a>, San Mateo artist \u003ca href=\"http://harrieteestelberman.com/\" target=\"blank\" rel=\"noopener\">Harriete Estel Berman\u003c/a> found herself drawn to a simply-designed 1930s Sunkist label.\u003c/p>\n\u003cp>Most historic fruit crate labels were typically embellished with images and illustrations that marketed their wares. But the Sunkist label just read “truth,” in a striking golden font.\u003c/p>\n\u003cfigure id=\"attachment_13008673\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13008673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label.jpg\" alt=\"The 1930 Gavilan Citrus Association's "Truth" fruit crate label which inspired Berman's project.\" width=\"500\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-240x222.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-375x347.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">The 1930 Gavilan Citrus Association’s “Truth” fruit crate label which inspired Berman’s project. \u003ccite>(Courtesy of Harriete Estel Berman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In a time when truth was a terribly powerful concept, I felt like it needed nothing else, so I put it away,” Berman says. “But three years later, after the election with 45 — President Donald Trump — we’re faced with this new reality which seems to get worse all the time.” She says the Trump administration’s cries of “\u003ca href=\"http://www.kqed.org/news/story/2017/02/17/226641/with_fake_news_trump_moves_from_alternative_facts_to?source=npr&category=politics\" target=\"_blank\" rel=\"noopener\">fake news\u003c/a>” and alternative facts have made her realize truth was not quite as absolute as she thought it once was.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For the past three decades, Berman has created recycled sculptures and jewelry imbued with critical commentary on everything from \u003ca href=\"http://harrieteestelberman.com/checking-the-cost-of-gun-violence\" target=\"_blank\" rel=\"noopener\">gun violence\u003c/a> to the \u003ca href=\"http://harrieteestelberman.com/identity-bracelets-1\" target=\"_blank\" rel=\"noopener\">creation of identity\u003c/a> within consumer society. \u003cspan style=\"font-weight: 400\">Her \u003cem>California Collection\u003c/em> jewelry series re-purposes fruit crate labels and tin cans to create accessories that reflect on California’s simultaneously consumerist and green culture. Her creative output includes circuit board bracelets inspired by Silicon Valley’s flourishing tech industry and recycled milk bottles transformed into delicately textured jewelry.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in \u003cem>\u003ca href=\"http://harrieteestelberman.com/truth-california-collection\" target=\"_blank\" rel=\"noopener\">Truth\u003c/a>\u003c/em>, the latest addition to her \u003cem>California Collection\u003c/em> series, Berman confronts the current administration’s destabilization of the idea of “truth” \u003cspan style=\"font-weight: 400\">and examines our own responsibility in this new moral climate. \u003c/span>“I’m looking at this word ‘truth’ and I’m here actually, literally fabricating truth – the same way the administration is,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13008674\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13008674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio-.jpg\" alt=\"Harriete in the studio. \" width=\"300\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio-.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio--160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio--240x360.jpg 240w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Harriete in the studio. \u003ccite>(Photo: Aryn Shelander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berman is currently in the process of creating two jewelry pieces that explore the roots of Trump’s current agenda against truth, respectively named \u003cem>Alternative Facts\u003c/em> and \u003cem>Circular Logic. \u003c/em>She spares no symbolism in the construction of each bracelet: \u003cem>Alternative Facts\u003c/em> is formed around a web-like structure echoing the administration’s recent \u003ca href=\"https://ww2.kqed.org/news/2017/03/20/fbi-chief-confirms-agency-is-probing-links-between-russia-trump-associates/\" target=\"_blank\" rel=\"noopener\">web of alleged collusion\u003c/a> with Russia; the face of the bracelet itself is printed with nutritional facts, which Berman considers another instance of “alternative facts” that we experience in our daily lives.\u003c/p>\n\u003cp>Berman’s decades of overtly political work are informed by the historically activist history of jewelry. The artist has taken notes from the patriotic “V for Victory” brooch that was popular during World War II, and peace sign jewelry protesting American involvement in the Vietnam war. Berman believes artists are messengers of a society, as their works are in direct conversation with the values and politics of the current culture.\u003c/p>\n\u003cfigure id=\"attachment_13008675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13008675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-800x450.jpg\" alt='The \"Alternative Facts\" bracelet in progress.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Alternative Facts” bracelet in progress. \u003ccite>(Courtesy of Harriete Estel Berman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">We generally look at past civilizations through their art, from cave paintings to jewelry found at burial sites,” she says.\u003c/span>\u003cb> “\u003c/b>It’s how we evaluate their culture. It’s the most concrete voice that we have.”\u003c/p>\n\u003cp>Berman channels her reflections on politics through making jewelry. But she says the responsibility lies not only on the shoulders of artists to create work that responds to and resists the actions of the current administration.\u003c/p>\n\u003cp>“E\u003cb>\u003cspan style=\"font-weight: 400\">verything is in such an upheaval, and our elected representatives need the support of their constituents,” Berman says. “\u003c/span>\u003c/b>W\u003cb>\u003cspan style=\"font-weight: 400\">e can no longer assume that our government is going to run consistently and fairly without our voice. So you must do anything you can do to raise your voice.”\u003c/span>\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Portrait Series Remembers the Legacies of Powerful 'Mujeres'",
"headTitle": "Portrait Series Remembers the Legacies of Powerful ‘Mujeres’ | KQED",
"content": "\u003cp>The Bay Area has a storied legacy of activism, from the \u003ca href=\"https://ww2.kqed.org/arts/2016/02/15/no-justice-without-us-the-bay-areas-legacy-of-art-activism/\" target=\"_blank\" rel=\"noopener\">Black Panthers to anti-gentrification movements\u003c/a>. But as San Jose State University art student \u003ca href=\"http://ebauart.weebly.com/\" target=\"_blank\" rel=\"noopener\">Estefania Bautista\u003c/a> investigates in her portrait series \u003cem>Viva La Mujer\u003c/em>, history often forgets the work and power of the women within those same communities.\u003c/p>\n\u003cp>Bautista recently spoke with KQED about the visibility her work brings to female leaders from the ’60s and ’70s freedom movements and the importance of education in activism.\u003c/p>\n\u003cp>\u003cb>How did your series \u003cem>Viva La Mujer\u003c/em> begin?\u003c/b>\u003c/p>\n\u003cp>I took my inspiration from my Mexican American history class with Professor Covarrubias, who made sure to talk about the female perspective in history. I just thought it was so cool to learn about these women who were very active in their community, but who we don’t usually learn about. While I was taking a break from studying, I decided to draw one of them — I started off drawing a portrait of the Brown Beret women, then I added a representation from the Black Panthers and a portrait of Native American activist Sacheen Littlefeather. As I learned and learned about these other women, my research began to take me outside the classroom.\u003c/p>\n\u003cfigure id=\"attachment_12870966\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12870966\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/img-4562_1.jpeg\" alt=\"Portraits of a Brown Beret, a Black Panther and Sacheen Littlefeather by Estefania Bautista.\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1-240x320.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1-375x500.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1-520x693.jpeg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Portraits of a Brown Beret, a Black Panther and Sacheen Littlefeather by Estefania Bautista. \u003ccite>(Courtesy of Estefania Bautista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you decide which subjects to create portraits of?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because of white-dominant history classes, we know even less about women of color, so I specifically picked portraits of women in groups like the Young Lords, which was a Puerto Rican group inspired by the Black Panther Party, and Dolores Huerta, who is mostly known for helping Cesar Chavez but was also one of the most vocal people debating farm owners and politicians for labor rights. \u003cspan style=\"font-weight: 400\">I’m using these portraits to teach people about these women who have opened doors for us — we are thanking them and continuing their legacy by providing back to our communities. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12870760\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12870760 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig.jpg\" alt=\"Artist Estefania Bautista holds up a sign she created at the Women's March in San Jose.\" width=\"460\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig-240x376.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig-375x587.jpg 375w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Artist Estefania Bautista holds up a sign she created at the Women’s March in San Jose. \u003ccite>(Courtesy of Estefania Bautista.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you hope people take away from the series?\u003c/b>\u003c/p>\n\u003cp>Trump’s inauguration and election inspired me to educate other people and remind them that this history is not in the past, we’re continuing it. I hope it makes us think about what we’re doing in our lives and how it’s our legacy to fight back. It’s really important to know that there is a history of resistance. Even though today seems so complicated and difficult because people are being criminalized and oppressed, knowing that we have fought back before will hopefully inspire people to continue and actually do something, whether it’s to protest or to teach someone else about our history.\u003c/p>\n\u003cp>\u003cb>What do you think young people can do to contribute to the movement?\u003c/b>\u003c/p>\n\u003cp>I think college students can get involved in the community by getting educated on issues and their history and to organize and take action from there. I’m just a college student so I’m still trying to figure out my role, but I think that because of what’s happening in the world, I’ve had more of a clear understanding of what I can do to contribute. I plan on adding other women from other decades in the \u003cem>Viva La Mujer\u003c/em> series, for example, and making this a lifelong project.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Check out the rest of Estefania’s work on her \u003ca href=\"http://ebauart.weebly.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a> or on Instagram at \u003ca href=\"https://www.instagram.com/ebau_art/\" target=\"_blank\" rel=\"noopener\">@ebau_art\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area has a storied legacy of activism, from the \u003ca href=\"https://ww2.kqed.org/arts/2016/02/15/no-justice-without-us-the-bay-areas-legacy-of-art-activism/\" target=\"_blank\" rel=\"noopener\">Black Panthers to anti-gentrification movements\u003c/a>. But as San Jose State University art student \u003ca href=\"http://ebauart.weebly.com/\" target=\"_blank\" rel=\"noopener\">Estefania Bautista\u003c/a> investigates in her portrait series \u003cem>Viva La Mujer\u003c/em>, history often forgets the work and power of the women within those same communities.\u003c/p>\n\u003cp>Bautista recently spoke with KQED about the visibility her work brings to female leaders from the ’60s and ’70s freedom movements and the importance of education in activism.\u003c/p>\n\u003cp>\u003cb>How did your series \u003cem>Viva La Mujer\u003c/em> begin?\u003c/b>\u003c/p>\n\u003cp>I took my inspiration from my Mexican American history class with Professor Covarrubias, who made sure to talk about the female perspective in history. I just thought it was so cool to learn about these women who were very active in their community, but who we don’t usually learn about. While I was taking a break from studying, I decided to draw one of them — I started off drawing a portrait of the Brown Beret women, then I added a representation from the Black Panthers and a portrait of Native American activist Sacheen Littlefeather. As I learned and learned about these other women, my research began to take me outside the classroom.\u003c/p>\n\u003cfigure id=\"attachment_12870966\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12870966\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/img-4562_1.jpeg\" alt=\"Portraits of a Brown Beret, a Black Panther and Sacheen Littlefeather by Estefania Bautista.\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1-240x320.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1-375x500.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/img-4562_1-520x693.jpeg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Portraits of a Brown Beret, a Black Panther and Sacheen Littlefeather by Estefania Bautista. \u003ccite>(Courtesy of Estefania Bautista)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you decide which subjects to create portraits of?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because of white-dominant history classes, we know even less about women of color, so I specifically picked portraits of women in groups like the Young Lords, which was a Puerto Rican group inspired by the Black Panther Party, and Dolores Huerta, who is mostly known for helping Cesar Chavez but was also one of the most vocal people debating farm owners and politicians for labor rights. \u003cspan style=\"font-weight: 400\">I’m using these portraits to teach people about these women who have opened doors for us — we are thanking them and continuing their legacy by providing back to our communities. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12870760\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12870760 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig.jpg\" alt=\"Artist Estefania Bautista holds up a sign she created at the Women's March in San Jose.\" width=\"460\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig.jpg 460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig-240x376.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/vlm-me-2_orig-375x587.jpg 375w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Artist Estefania Bautista holds up a sign she created at the Women’s March in San Jose. \u003ccite>(Courtesy of Estefania Bautista.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you hope people take away from the series?\u003c/b>\u003c/p>\n\u003cp>Trump’s inauguration and election inspired me to educate other people and remind them that this history is not in the past, we’re continuing it. I hope it makes us think about what we’re doing in our lives and how it’s our legacy to fight back. It’s really important to know that there is a history of resistance. Even though today seems so complicated and difficult because people are being criminalized and oppressed, knowing that we have fought back before will hopefully inspire people to continue and actually do something, whether it’s to protest or to teach someone else about our history.\u003c/p>\n\u003cp>\u003cb>What do you think young people can do to contribute to the movement?\u003c/b>\u003c/p>\n\u003cp>I think college students can get involved in the community by getting educated on issues and their history and to organize and take action from there. I’m just a college student so I’m still trying to figure out my role, but I think that because of what’s happening in the world, I’ve had more of a clear understanding of what I can do to contribute. I plan on adding other women from other decades in the \u003cem>Viva La Mujer\u003c/em> series, for example, and making this a lifelong project.\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Check out the rest of Estefania’s work on her \u003ca href=\"http://ebauart.weebly.com/\" target=\"_blank\" rel=\"noopener\">website\u003c/a> or on Instagram at \u003ca href=\"https://www.instagram.com/ebau_art/\" target=\"_blank\" rel=\"noopener\">@ebau_art\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Chinatown's Ross Alley Transformed with Ripples of Immigrant History",
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"content": "\u003cp>Recent visitors to Chinatown’s narrow Ross Alley will have noticed its new illumination: rippling LED lights shine on the ground, mimicking ocean waves along the length of its path. But the luminescence serves as more than a practical solution to the dimly-lit thoroughfare. It also transforms a short walk down this alley into a glimpse of Chinatown’s history from its very beginnings, a story of forward-looking immigrants leaving their homes behind to make a new life across the ocean.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>In Summer Mei-Ling Lee’s outdoor installation, \u003cem>Liminal\u003c/em>\u003ci> Space/Crossings\u003c/i>, immigrant history mingles in Ross Alley with current conversations around immigration — and the ways all these journeys are mediated by the ocean.\u003c/p>\n\u003cp>A partnership with the \u003ca href=\"http://www.cccsf.us/liminal-space/\" target=\"_blank\" rel=\"noopener\">Chinese Culture Center of San Francisco\u003c/a>, Lee’s piece is a culmination of her year-long workshops with immigrant families living in Chinatown, as well as a reflection on her own grandmother’s experience of immigrating to the United States through Canada to avoid being held at Angel Island. Her research brought up the idea of the ocean as a motif — a shared ground for the Asian diaspora, the refugee crises and the larger immigrant experience.\u003c/p>\n\u003cp>https://youtu.be/U9Sgz0X7Bqs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Crossing an ocean is a specific moment,” Lee says. “You’re taking a risk going into the completely unknown and taking the harrowing journey over water.”\u003c/p>\n\u003cp>While \u003cem>Liminal Space/Crossings\u003c/em> physically immerses passersby in a similar experience that immigrants undergo on their way to America, Lee says her ultimate goal is not to impress a directly political message. Instead, she hopes that the ocean can provide people an inward privacy and an opportunity to reflect on the inherent changes within their own selves.\u003c/p>\n\u003cfigure id=\"attachment_12827060\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12827060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/16178427_10154085773986993_2407222086348978676_o-768x512.jpg\" alt=\"Correspondence with Laura Boles Faw, 2017. Desks, Lanterns, Invisible Ink and Passers-by in Ross Alley, Chinatown\" width=\"768\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/16178427_10154085773986993_2407222086348978676_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/16178427_10154085773986993_2407222086348978676_o-768x512-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/16178427_10154085773986993_2407222086348978676_o-768x512-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/16178427_10154085773986993_2407222086348978676_o-768x512-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/16178427_10154085773986993_2407222086348978676_o-768x512-520x347.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Correspondence with Laura Boles Faw, 2017. Desks, Lanterns, Invisible Ink and Passers-by in Ross Alley, Chinatown \u003ccite>(Courtesy of Summer Mei-Ling Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When art moves people beyond a message and makes them feel something that’s untranslatable, that’s when it survives the time,” she says.\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=\"Q.Logo.Break\" 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>\u003cstrong>Liminal Space/Crossings\u003c/strong> is an ongoing installation on 41 Ross Alley in San Francisco’s Chinatown. For more information, visit \u003ca href=\"http://cccsf.us\" target=\"_blank\" rel=\"noopener\">cccsf.us\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recent visitors to Chinatown’s narrow Ross Alley will have noticed its new illumination: rippling LED lights shine on the ground, mimicking ocean waves along the length of its path. But the luminescence serves as more than a practical solution to the dimly-lit thoroughfare. It also transforms a short walk down this alley into a glimpse of Chinatown’s history from its very beginnings, a story of forward-looking immigrants leaving their homes behind to make a new life across the ocean.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>In Summer Mei-Ling Lee’s outdoor installation, \u003cem>Liminal\u003c/em>\u003ci> Space/Crossings\u003c/i>, immigrant history mingles in Ross Alley with current conversations around immigration — and the ways all these journeys are mediated by the ocean.\u003c/p>\n\u003cp>A partnership with the \u003ca href=\"http://www.cccsf.us/liminal-space/\" target=\"_blank\" rel=\"noopener\">Chinese Culture Center of San Francisco\u003c/a>, Lee’s piece is a culmination of her year-long workshops with immigrant families living in Chinatown, as well as a reflection on her own grandmother’s experience of immigrating to the United States through Canada to avoid being held at Angel Island. Her research brought up the idea of the ocean as a motif — a shared ground for the Asian diaspora, the refugee crises and the larger immigrant experience.\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/U9Sgz0X7Bqs'\n title='//www.youtube.com/embed/U9Sgz0X7Bqs'\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": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Crossing an ocean is a specific moment,” Lee says. “You’re taking a risk going into the completely unknown and taking the harrowing journey over water.”\u003c/p>\n\u003cp>While \u003cem>Liminal Space/Crossings\u003c/em> physically immerses passersby in a similar experience that immigrants undergo on their way to America, Lee says her ultimate goal is not to impress a directly political message. Instead, she hopes that the ocean can provide people an inward privacy and an opportunity to reflect on the inherent changes within their own selves.\u003c/p>\n\u003cfigure id=\"attachment_12827060\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12827060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/16178427_10154085773986993_2407222086348978676_o-768x512.jpg\" alt=\"Correspondence with Laura Boles Faw, 2017. Desks, Lanterns, Invisible Ink and Passers-by in Ross Alley, Chinatown\" width=\"768\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/16178427_10154085773986993_2407222086348978676_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/16178427_10154085773986993_2407222086348978676_o-768x512-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/16178427_10154085773986993_2407222086348978676_o-768x512-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/16178427_10154085773986993_2407222086348978676_o-768x512-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/16178427_10154085773986993_2407222086348978676_o-768x512-520x347.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Correspondence with Laura Boles Faw, 2017. Desks, Lanterns, Invisible Ink and Passers-by in Ross Alley, Chinatown \u003ccite>(Courtesy of Summer Mei-Ling Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When art moves people beyond a message and makes them feel something that’s untranslatable, that’s when it survives the time,” she says.\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=\"Q.Logo.Break\" 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>\u003cstrong>Liminal Space/Crossings\u003c/strong> is an ongoing installation on 41 Ross Alley in San Francisco’s Chinatown. For more information, visit \u003ca href=\"http://cccsf.us\" target=\"_blank\" rel=\"noopener\">cccsf.us\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Amid Immigration Ban, 'Westoxicated' Reclaims a Shared Humanity",
"headTitle": "Amid Immigration Ban, ‘Westoxicated’ Reclaims a Shared Humanity | KQED",
"content": "\u003cp>In the midst of researching differences and similarities between Iranian and American culture for her new project, Bay Area artist \u003ca href=\"http://www.taravattalepasand.com/\" target=\"_blank\" rel=\"noopener\">Taravat Talepasand\u003c/a> found her readings inundated with a certain word: “westoxicated.”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Religious Iranian historians and political writers espoused the anti-Western term to criticize and denounce anything with a strong Western influence. Talepasand, on the other hand, saw purpose in the term past divisive rhetoric.\u003c/p>\n\u003cp>“I thought it defined that psychological feeling that both Iranians outside and inside the country felt — what it means to be influenced by the West while under Islamic rule,” Talepasand says.\u003c/p>\n\u003cfigure id=\"attachment_12709916\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_.jpg\" alt=\"'Banished Fortunes,' 2016, egg tempera and oil on linen.\" width=\"500\" height=\"644\" class=\"size-full wp-image-12709916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_-240x309.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_-375x483.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘Banished Fortunes,’ 2016, egg tempera and oil on linen. \u003ccite>(Taravat Talepasand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talepasand’s years of research come to fruition in her show \u003ca href=\"http://www.zevitasmarcus.com/exhibitions-all/to-be-announced-1\" target=\"_blank\" rel=\"noopener\">\u003cem>Westoxicated\u003c/em>,\u003c/a> which sheds light on the ways Iranian women actively resist conservative ideals to ensure their democratic rights — efforts not far removed from our own \u003ca href=\"https://ww2.kqed.org/arts/2017/01/24/building-a-stronger-more-representative-womens-march/\" target=\"_blank\" rel=\"noopener\">current situation\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Defiant cultural taboos make up the bulk of this mixed-media show, at times both irreverent and humorous. \u003cem>Westoxicated\u003c/em> features nude portraits of female Iranian professors and writers, women making rude and suggestive gestures while decked in long, black chadors, and Kim Kardashian’s notorious crying face transferred onto a silk tapestry.\u003c/p>\n\u003cp>The show also tackles the darker and lesser-known outcome of such conservative rule: large glass pipes represent the epidemic in Iran of methamphetamine, a drug touted as a weight-loss tool for middle-class women struggling to exist under an oppressive regime.\u003c/p>\n\u003cfigure id=\"attachment_12708721\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12708721\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sheesheh-800x453.jpg\" alt=\"Sheesheh I, II, III, 2015. Hand blown glass meth pipes.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sheesheh I, II, III, 2015. Hand blown glass meth pipes. \u003ccite>(Courtesy of Taravat Talepasand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are a lot of similarities in our current contemporary culture, especially in the darker rooted problems between the U.S. and Iran,” Talepasand says. “I wanted to blur the lines that have been drawn by political and religious leaders.”\u003c/p>\n\u003cp>This reminder of our shared humanity and our shared vices is particularly important today, especially in light of President Trump’s recent \u003ca href=\"https://ww2.kqed.org/news/2017/01/29/trump-travel-ban-continues-to-spread-confusion-protests/\" target=\"_blank\" rel=\"noopener\">Muslim ban\u003c/a>.\u003c/p>\n\u003cp>Talepasand herself comes from a family of Iranian immigrants — an aunt is currently staying with her parents in Portland with a green card, trying to earn money to support her family back in Iran.\u003c/p>\n\u003cp>“I was first in total shock and tears at the ban,” Talepasand says. “She’s either stuck here, or she has to go back and can never return.”\u003c/p>\n\u003cfigure id=\"attachment_12708843\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12708843\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/HiraethHiRes.jpg\" alt=\"Hireath, 2015. Egg tempera on linen.\" width=\"750\" height=\"930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes-240x298.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes-375x465.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes-520x645.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Hireath, 2015. Egg tempera on linen. \u003ccite>(Courtesy of Taravat Talepasand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the administration’s devastating immigration order, Talepasand believes it only fuels her to create more work that pushes back against the ideas set by Islamic and American politics of Iran as a country draped in black. She sees the recent community protests and marches as an example of power in numbers, which she hopes to extend to her own work.\u003c/p>\n\u003cp>“I want to create and bring together other artists from the Middle East – to coexist together and exhibit together and explain the diversity and strict adjustments in our own countries,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>\u003cem>‘Westoxication’ is on view at Zevitas Marcus in Los Angeles through March 18. \u003ca href=\"http://www.zevitasmarcus.com/exhibitions-all/to-be-announced-1\" target=\"_blank\">Click here\u003c/a> for more information.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In a new show coinciding with Trump's immigration ban, Bay Area artist Taravat Talepasand explores ways that Iranian women actively resist conservative ideals to ensure their democratic rights.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the midst of researching differences and similarities between Iranian and American culture for her new project, Bay Area artist \u003ca href=\"http://www.taravattalepasand.com/\" target=\"_blank\" rel=\"noopener\">Taravat Talepasand\u003c/a> found her readings inundated with a certain word: “westoxicated.”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Religious Iranian historians and political writers espoused the anti-Western term to criticize and denounce anything with a strong Western influence. Talepasand, on the other hand, saw purpose in the term past divisive rhetoric.\u003c/p>\n\u003cp>“I thought it defined that psychological feeling that both Iranians outside and inside the country felt — what it means to be influenced by the West while under Islamic rule,” Talepasand says.\u003c/p>\n\u003cfigure id=\"attachment_12709916\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_.jpg\" alt=\"'Banished Fortunes,' 2016, egg tempera and oil on linen.\" width=\"500\" height=\"644\" class=\"size-full wp-image-12709916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_-240x309.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/BanishedFortunes.TT_-375x483.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">‘Banished Fortunes,’ 2016, egg tempera and oil on linen. \u003ccite>(Taravat Talepasand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talepasand’s years of research come to fruition in her show \u003ca href=\"http://www.zevitasmarcus.com/exhibitions-all/to-be-announced-1\" target=\"_blank\" rel=\"noopener\">\u003cem>Westoxicated\u003c/em>,\u003c/a> which sheds light on the ways Iranian women actively resist conservative ideals to ensure their democratic rights — efforts not far removed from our own \u003ca href=\"https://ww2.kqed.org/arts/2017/01/24/building-a-stronger-more-representative-womens-march/\" target=\"_blank\" rel=\"noopener\">current situation\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Defiant cultural taboos make up the bulk of this mixed-media show, at times both irreverent and humorous. \u003cem>Westoxicated\u003c/em> features nude portraits of female Iranian professors and writers, women making rude and suggestive gestures while decked in long, black chadors, and Kim Kardashian’s notorious crying face transferred onto a silk tapestry.\u003c/p>\n\u003cp>The show also tackles the darker and lesser-known outcome of such conservative rule: large glass pipes represent the epidemic in Iran of methamphetamine, a drug touted as a weight-loss tool for middle-class women struggling to exist under an oppressive regime.\u003c/p>\n\u003cfigure id=\"attachment_12708721\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12708721\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Sheesheh-800x453.jpg\" alt=\"Sheesheh I, II, III, 2015. Hand blown glass meth pipes.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Sheesheh.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sheesheh I, II, III, 2015. Hand blown glass meth pipes. \u003ccite>(Courtesy of Taravat Talepasand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are a lot of similarities in our current contemporary culture, especially in the darker rooted problems between the U.S. and Iran,” Talepasand says. “I wanted to blur the lines that have been drawn by political and religious leaders.”\u003c/p>\n\u003cp>This reminder of our shared humanity and our shared vices is particularly important today, especially in light of President Trump’s recent \u003ca href=\"https://ww2.kqed.org/news/2017/01/29/trump-travel-ban-continues-to-spread-confusion-protests/\" target=\"_blank\" rel=\"noopener\">Muslim ban\u003c/a>.\u003c/p>\n\u003cp>Talepasand herself comes from a family of Iranian immigrants — an aunt is currently staying with her parents in Portland with a green card, trying to earn money to support her family back in Iran.\u003c/p>\n\u003cp>“I was first in total shock and tears at the ban,” Talepasand says. “She’s either stuck here, or she has to go back and can never return.”\u003c/p>\n\u003cfigure id=\"attachment_12708843\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12708843\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/HiraethHiRes.jpg\" alt=\"Hireath, 2015. Egg tempera on linen.\" width=\"750\" height=\"930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes-240x298.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes-375x465.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/HiraethHiRes-520x645.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Hireath, 2015. Egg tempera on linen. \u003ccite>(Courtesy of Taravat Talepasand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the administration’s devastating immigration order, Talepasand believes it only fuels her to create more work that pushes back against the ideas set by Islamic and American politics of Iran as a country draped in black. She sees the recent community protests and marches as an example of power in numbers, which she hopes to extend to her own work.\u003c/p>\n\u003cp>“I want to create and bring together other artists from the Middle East – to coexist together and exhibit together and explain the diversity and strict adjustments in our own countries,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>\u003cem>‘Westoxication’ is on view at Zevitas Marcus in Los Angeles through March 18. \u003ca href=\"http://www.zevitasmarcus.com/exhibitions-all/to-be-announced-1\" target=\"_blank\">Click here\u003c/a> for more information.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This is it. It’s really happening. On Friday, Jan. 20, America swears President-elect Donald Trump into office.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>You’ll likely have heard news of the marches by now — groups organizing en masse, from the heart of D.C. to the farthest reaches of both coasts, armed with posters and \u003ca href=\"https://ww2.kqed.org/pop/2017/01/17/dont-know-how-to-knit-make-your-own-pussy-hat-out-of-paper/\" target=\"_blank\" rel=\"noopener\">knitted hats\u003c/a> and the steady bonds of solidarity.\u003c/p>\n\u003cp>But if you aren’t planning to join the crowds on the big day, here are a few ways the Bay Area is looking to art at the turn of a new political era:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12641511\" class=\"wp-caption alignleft\" style=\"max-width: 769px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12641511\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/bridgeHeader.jpg\" alt=\"The Golden Gate Bridge.\" width=\"769\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bridgeHeader.jpg 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bridgeHeader-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bridgeHeader-768x390.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bridgeHeader-240x122.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bridgeHeader-375x191.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bridgeHeader-520x264.jpg 520w\" sizes=\"(max-width: 769px) 100vw, 769px\">\u003cfigcaption class=\"wp-caption-text\">The Golden Gate Bridge.\u003c/figcaption>\u003c/figure>\n\u003ch3>Bridge Together Golden Gate\u003c/h3>\n\u003ch5>10 am–Noon\u003cbr>\nGolden Gate Bridge\u003cbr>\n\u003ca href=\"http://bridge.beyondtherectangle.org/\" target=\"_blank\" rel=\"noopener\">Information and registration\u003c/a>\u003c/h5>\n\u003cp>This epic collaborative performance, reminiscent of the massive site-specific installations of Christo and Jeanne-Claude, seeks to create a human chain across the Golden Gate Bridge. Participants will hold lengths of purple cloth, t\u003cspan style=\"font-weight: 400\">he color signifying “unity and love in the face of divisiveness and hate,” according to the event website\u003c/span>. Organizers advise attendees to register beforehand and wear or bring a yard of purple cloth.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12640888\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/local-color.jpg\" alt=\"'Local Color' assists those with limited mobility.\" width=\"640\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">Local Color assists those with limited mobility. \u003ccite>(Courtesy of Local Color)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Protest Writing Workshop / Low Mobility March\u003c/h3>\n\u003ch5>1–5pm\u003cbr>\nLocal Color, San Jose\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/937566439714195/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>San Jose’s Local Color, a new pop-up art space in Downtown San Jose, hosts a drop-in writing workshop the afternoon of the inauguration. The event provides those with limited mobility or those seeking a place to recharge during the marches with an alternative way to contribute to the movement. Attendees will create political zines, protest posters and other artifacts with the assistance of local writers and artists.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12640894\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12640894\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/existe-y-resiste-800x298.jpg\" alt=\"Existe Y Resiste\" width=\"800\" height=\"298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/existe-y-resiste-800x298.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/existe-y-resiste-160x60.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/existe-y-resiste-768x286.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/existe-y-resiste.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/existe-y-resiste-240x89.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/existe-y-resiste-375x139.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/existe-y-resiste-520x193.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Existe Y Resiste. \u003ccite>(Courtesy of Mission Cultural Center for Latino Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Existe Y Resiste’\u003c/h3>\n\u003ch5>6–9:30pm\u003cbr>\nMission Cultural Center for Latino Arts\u003cbr>\n\u003ca href=\"http://www.missionculturalcenter.org/gallery.html\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>What began as a recurring idea amongst artists throughout the Bay Area after the election — resisting fascism through radical existence — became a full-fledged show at the Mission Cultural Center for Latino Arts. \u003ci>Existe Y Resiste\u003c/i> brings together artists from different backgrounds who actively resist the newly elected administration’s intolerant and divisive rhetoric through murals, songs, and other visual arts with the aim of inspiring and reminding audiences about the importance of activism and art in this new political climate.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12640684\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12640684\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/power-hour-800x534.jpg\" alt=\"A crowd poses for a photo during Power Hour.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/power-hour-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/power-hour-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/power-hour-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/power-hour-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/power-hour-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/power-hour-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/power-hour-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/power-hour.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd poses for a photo during Power Hour. \u003ccite>(Courtesy of Power Hour of Fun.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Power Hour\u003c/h3>\n\u003ch5>6-9pm\u003cbr>\nSanta Cruz Museum of Art and History\u003cbr>\n\u003ca href=\"https://santacruzmah.org/powerhour\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Initially designed as an hour-long icebreaker event involving high-five marathons and trust falls, organizers have reframed Power Hour into a healing space to help people decompress and reconnect in the midst of the inauguration. What better way to exorcise your anxieties than to yell, arm-wrestle and play hide-and-seek with a group of strangers in the space of an hour?\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12640881\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12640881\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-800x532.jpg\" alt=\"Teresita De La Torre poses for her performance art piece.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Teresita De La Torre poses for her performance art piece ‘Todos Los Dias.’ \u003ccite>(Courtesy of Teresita De La Torre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>100 Days Action Inaugural Ball\u003c/h3>\n\u003ch5>7–10pm\u003cbr>\nRoyal NoneSuch Gallery, Oakland\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/1493607773987560/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>The 100-day-long project by Bay Area artists to create a counter-narrative to the presidency’s traditional 100 days plan launches at the Royal NoneSuch Gallery in Oakland, where attendees can take their own constitutional oaths on a book of their choice (on the list: \u003cem>On the Origin of Species\u003c/em> and \u003cem>The Feminine Mystique\u003c/em>) while enjoying work from performance artist Teresita De La Torre and others.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12640885\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12640885\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/frequency-49-2-800x534.jpg\" alt=\"The Frequency 49 ensemble poses for a photo. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Frequency 49 ensemble poses for a photo. \u003ccite>(Courtesy of Frequency 49. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Frequency 49 Benefit Concert\u003c/h3>\n\u003ch5>7–10pm\u003cbr>\nFirst Unitarian Universalist Society of San Francisco\u003cbr>\n\u003ca href=\"http://frequency49benefitconcert.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Soothe what ails with San Francisco-based chamber ensemble Frequency 49 in a night of music at the First Unitarian Universalist Society of San Francisco. The group is joined by Wild Rumpus, Divisa Ensemble, and the Siroko Duo, and all proceeds from the evening go to the ACLU.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12295297\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295297\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Will-Durst-800x495.jpg\" alt=\"Will Durst backstage before his show ‘Elect to Laugh’ at The Marsh\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Will Durst backstage before his show ‘Elect to Laugh’ at The Marsh. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Sketchfest: Will Durst and Co.\u003c/h3>\n\u003ch5>7:30–9pm\u003cbr>\nCobb’s Comedy Club, San Francisco\u003cbr>\n\u003ca href=\"https://sfsketchfest2017.sched.com/event/8wMP/will-durst-and-friends-on-inauguration-day-what-now-with-nato-green-dhaya-lakshminarayanan-and-brian-malow?iframe=no&w=100%25&sidebar=yes&bg=no\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>As part of San Francisco Sketchfest, Bay Area legend Will Durst leads comedians Nato Green, Dhaya Lakshminarayanan (a KQED \u003ca href=\"https://ww2.kqed.org/arts/2016/07/27/women-to-watch-dhaya-lakshminarayanan/\" target=\"_blank\" rel=\"noopener\">Women to Watch alumnus\u003c/a>) and Brian Malow for a night of laughing to keep from crying.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12640886\" class=\"wp-caption alignleft\" style=\"max-width: 491px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12640886\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/bazaar-cafe.jpg\" alt=\"A crowd listens in during a performance at Bazaar Cafe. \" width=\"491\" height=\"278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bazaar-cafe-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bazaar-cafe-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bazaar-cafe-375x211.jpg 375w\" sizes=\"(max-width: 491px) 100vw, 491px\">\u003cfigcaption class=\"wp-caption-text\">A crowd listens in during a performance at Bazaar Cafe. \u003ccite>(Courtesy of Bazaar Cafe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Bazaar Cafe Inauguration Night\u003c/h3>\n\u003ch5>7–10pm\u003cbr>\nBazaar Cafe, San Francisco\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/1827056977570151/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Tuck in with a warm cup of coffee and watch local songwriters and poets perform pieces reacting to the incoming administration at the Bazaar’s quadrennial inauguration night event.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "If you're not planning to rush off to Washington D.C. at the end of the week, here are some ideas that will provide a sense of community and creative inspiration on Inauguration Day.",
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"title": "KQED's Arts-Packed Inauguration Day Survival Guide | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This is it. It’s really happening. On Friday, Jan. 20, America swears President-elect Donald Trump into office.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>You’ll likely have heard news of the marches by now — groups organizing en masse, from the heart of D.C. to the farthest reaches of both coasts, armed with posters and \u003ca href=\"https://ww2.kqed.org/pop/2017/01/17/dont-know-how-to-knit-make-your-own-pussy-hat-out-of-paper/\" target=\"_blank\" rel=\"noopener\">knitted hats\u003c/a> and the steady bonds of solidarity.\u003c/p>\n\u003cp>But if you aren’t planning to join the crowds on the big day, here are a few ways the Bay Area is looking to art at the turn of a new political era:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12641511\" class=\"wp-caption alignleft\" style=\"max-width: 769px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12641511\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/bridgeHeader.jpg\" alt=\"The Golden Gate Bridge.\" width=\"769\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bridgeHeader.jpg 769w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bridgeHeader-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bridgeHeader-768x390.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bridgeHeader-240x122.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bridgeHeader-375x191.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bridgeHeader-520x264.jpg 520w\" sizes=\"(max-width: 769px) 100vw, 769px\">\u003cfigcaption class=\"wp-caption-text\">The Golden Gate Bridge.\u003c/figcaption>\u003c/figure>\n\u003ch3>Bridge Together Golden Gate\u003c/h3>\n\u003ch5>10 am–Noon\u003cbr>\nGolden Gate Bridge\u003cbr>\n\u003ca href=\"http://bridge.beyondtherectangle.org/\" target=\"_blank\" rel=\"noopener\">Information and registration\u003c/a>\u003c/h5>\n\u003cp>This epic collaborative performance, reminiscent of the massive site-specific installations of Christo and Jeanne-Claude, seeks to create a human chain across the Golden Gate Bridge. Participants will hold lengths of purple cloth, t\u003cspan style=\"font-weight: 400\">he color signifying “unity and love in the face of divisiveness and hate,” according to the event website\u003c/span>. Organizers advise attendees to register beforehand and wear or bring a yard of purple cloth.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12640888\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/local-color.jpg\" alt=\"'Local Color' assists those with limited mobility.\" width=\"640\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">Local Color assists those with limited mobility. \u003ccite>(Courtesy of Local Color)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Protest Writing Workshop / Low Mobility March\u003c/h3>\n\u003ch5>1–5pm\u003cbr>\nLocal Color, San Jose\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/937566439714195/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>San Jose’s Local Color, a new pop-up art space in Downtown San Jose, hosts a drop-in writing workshop the afternoon of the inauguration. The event provides those with limited mobility or those seeking a place to recharge during the marches with an alternative way to contribute to the movement. Attendees will create political zines, protest posters and other artifacts with the assistance of local writers and artists.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12640894\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12640894\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/existe-y-resiste-800x298.jpg\" alt=\"Existe Y Resiste\" width=\"800\" height=\"298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/existe-y-resiste-800x298.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/existe-y-resiste-160x60.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/existe-y-resiste-768x286.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/existe-y-resiste.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/existe-y-resiste-240x89.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/existe-y-resiste-375x139.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/existe-y-resiste-520x193.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Existe Y Resiste. \u003ccite>(Courtesy of Mission Cultural Center for Latino Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Existe Y Resiste’\u003c/h3>\n\u003ch5>6–9:30pm\u003cbr>\nMission Cultural Center for Latino Arts\u003cbr>\n\u003ca href=\"http://www.missionculturalcenter.org/gallery.html\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>What began as a recurring idea amongst artists throughout the Bay Area after the election — resisting fascism through radical existence — became a full-fledged show at the Mission Cultural Center for Latino Arts. \u003ci>Existe Y Resiste\u003c/i> brings together artists from different backgrounds who actively resist the newly elected administration’s intolerant and divisive rhetoric through murals, songs, and other visual arts with the aim of inspiring and reminding audiences about the importance of activism and art in this new political climate.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12640684\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12640684\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/power-hour-800x534.jpg\" alt=\"A crowd poses for a photo during Power Hour.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/power-hour-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/power-hour-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/power-hour-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/power-hour-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/power-hour-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/power-hour-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/power-hour-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/power-hour.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd poses for a photo during Power Hour. \u003ccite>(Courtesy of Power Hour of Fun.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Power Hour\u003c/h3>\n\u003ch5>6-9pm\u003cbr>\nSanta Cruz Museum of Art and History\u003cbr>\n\u003ca href=\"https://santacruzmah.org/powerhour\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Initially designed as an hour-long icebreaker event involving high-five marathons and trust falls, organizers have reframed Power Hour into a healing space to help people decompress and reconnect in the midst of the inauguration. What better way to exorcise your anxieties than to yell, arm-wrestle and play hide-and-seek with a group of strangers in the space of an hour?\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12640881\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12640881\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-800x532.jpg\" alt=\"Teresita De La Torre poses for her performance art piece.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/teresita-de-la-torre.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Teresita De La Torre poses for her performance art piece ‘Todos Los Dias.’ \u003ccite>(Courtesy of Teresita De La Torre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>100 Days Action Inaugural Ball\u003c/h3>\n\u003ch5>7–10pm\u003cbr>\nRoyal NoneSuch Gallery, Oakland\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/1493607773987560/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>The 100-day-long project by Bay Area artists to create a counter-narrative to the presidency’s traditional 100 days plan launches at the Royal NoneSuch Gallery in Oakland, where attendees can take their own constitutional oaths on a book of their choice (on the list: \u003cem>On the Origin of Species\u003c/em> and \u003cem>The Feminine Mystique\u003c/em>) while enjoying work from performance artist Teresita De La Torre and others.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12640885\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12640885\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/frequency-49-2-800x534.jpg\" alt=\"The Frequency 49 ensemble poses for a photo. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/frequency-49-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Frequency 49 ensemble poses for a photo. \u003ccite>(Courtesy of Frequency 49. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Frequency 49 Benefit Concert\u003c/h3>\n\u003ch5>7–10pm\u003cbr>\nFirst Unitarian Universalist Society of San Francisco\u003cbr>\n\u003ca href=\"http://frequency49benefitconcert.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Soothe what ails with San Francisco-based chamber ensemble Frequency 49 in a night of music at the First Unitarian Universalist Society of San Francisco. The group is joined by Wild Rumpus, Divisa Ensemble, and the Siroko Duo, and all proceeds from the evening go to the ACLU.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12295297\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295297\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Will-Durst-800x495.jpg\" alt=\"Will Durst backstage before his show ‘Elect to Laugh’ at The Marsh\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Will-Durst-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Will Durst backstage before his show ‘Elect to Laugh’ at The Marsh. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Sketchfest: Will Durst and Co.\u003c/h3>\n\u003ch5>7:30–9pm\u003cbr>\nCobb’s Comedy Club, San Francisco\u003cbr>\n\u003ca href=\"https://sfsketchfest2017.sched.com/event/8wMP/will-durst-and-friends-on-inauguration-day-what-now-with-nato-green-dhaya-lakshminarayanan-and-brian-malow?iframe=no&w=100%25&sidebar=yes&bg=no\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>As part of San Francisco Sketchfest, Bay Area legend Will Durst leads comedians Nato Green, Dhaya Lakshminarayanan (a KQED \u003ca href=\"https://ww2.kqed.org/arts/2016/07/27/women-to-watch-dhaya-lakshminarayanan/\" target=\"_blank\" rel=\"noopener\">Women to Watch alumnus\u003c/a>) and Brian Malow for a night of laughing to keep from crying.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12640886\" class=\"wp-caption alignleft\" style=\"max-width: 491px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12640886\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/bazaar-cafe.jpg\" alt=\"A crowd listens in during a performance at Bazaar Cafe. \" width=\"491\" height=\"278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bazaar-cafe-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bazaar-cafe-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/bazaar-cafe-375x211.jpg 375w\" sizes=\"(max-width: 491px) 100vw, 491px\">\u003cfigcaption class=\"wp-caption-text\">A crowd listens in during a performance at Bazaar Cafe. \u003ccite>(Courtesy of Bazaar Cafe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Bazaar Cafe Inauguration Night\u003c/h3>\n\u003ch5>7–10pm\u003cbr>\nBazaar Cafe, San Francisco\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/1827056977570151/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Tuck in with a warm cup of coffee and watch local songwriters and poets perform pieces reacting to the incoming administration at the Bazaar’s quadrennial inauguration night event.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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