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As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked Bay Area musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. A new one is posted each week.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.rockyrivera.com/\" target=\"_blank\" rel=\"noopener\">Rocky Rivera\u003c/a>, a rapper, teacher and San Francisco native, has been making “conscious” music since before most of her students were born.\u003c/p>\n\u003cp>A former music journalist turned musician, the emcee’s lyrics have never been subtle when it comes to politics — \u003ca href=\"https://ww2.kqed.org/pop/2016/06/14/watch-the-music-video-for-oakland-mc-rocky-riveras-feminist-anthem-turn-you/\" target=\"_blank\" rel=\"noopener\">her 2016 song “Turn You,”\u003c/a> for example, is a straight-up feminist-conversion hip-hop manifesto. But after the election, says Rivera, it felt more important than ever to create music that moved people to act.\u003c/p>\n\u003cp>“Round We Go,” a collaboration with friend and frequent co-writer DJ Roza, is the result. The track came out of a retreat that the pair’s label, Beatrock, held over the holiday break. “The political mood was so somber regarding the new administration, but us artists, we were excited,” says the emcee, whose real name is Krishtine de Leon. “Beatrock Music has been making what most people call ‘political’ music since before Obama came into office, but it was relevant now more than ever.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/303585807″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>With only enough time for one recording session, Rocky and Roza took an instrumental loop Roza had cut and arranged from Solange’s “Where Do We Go,” from the album \u003cem>A Seat at the Table\u003c/em>, and rapped over it. The lyrics, Rocky says, are a continuation of and response to the question Solange asked: Where \u003cem>do\u003c/em> we go from here?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I answer it in my first verse,” Rocky says. “Rap music is an entry point, but not an action. We are far beyond ‘spreading awareness’ on an issue through music — we need to organize. We need to get off Facebook and engage each other IRL, including our racist family members.”\u003c/p>\n\u003cfigure id=\"attachment_13079560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13079560\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-800x534.jpg\" alt=\"Rocky and DJ Roza \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rocky and DJ Roza \u003ccite>(Fred Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Per the song’s lyrics:\u003c/p>\n\u003cp>\u003cem>Now that Obama’s gone\u003cbr>\nThese racists feelin safe again\u003cbr>\nNow we got a “pussy grabber”\u003cbr>\nAs our President\u003cbr>\nIt’s hard to stop myself\u003cbr>\nFrom tellin y’all I told u so\u003cbr>\nInstead I put in the music\u003cbr>\nSo dissent can grow\u003c/em>\u003c/p>\n\u003cp>As for that growing dissent part: the emcee’s longtime career as a public school teacher in Oakland is, she says, far more than a day job. (She currently works at two high schools, Oakland Tech and Oakland High, and she’s also managed afterschool programs at McClymonds, Castlemont and in Fremont for the past five years.)\u003c/p>\n\u003cp>“I choose to work with high school youth because as a female emcee, I know that the industry has put an expiration date on me,” she says. “I know that it limits me purposely and disregards my contributions, much like how women are disregarded in many other vocations.”\u003c/p>\n\u003cp>The song’s lyrics end with a nod to the future, says the rapper, because she wanted to end on a positive note — and with a reminder that our elders have seen this before.\u003c/p>\n\u003cp>\u003cem>So I call upon the strength\u003cbr>\nOf generations past\u003cbr>\nSo they can guide our way\u003cbr>\nIlluminate a path\u003cbr>\nWe got it better now…than we ever have\u003cbr>\nIt time to finish what they started\u003cbr>\nWhere my soldiers at?\u003c/em>\u003c/p>\n\u003cp>DJ Roza and Rocky went on to create an entire mixtape, \u003cem>Winter In America\u003c/em>, around similar themes — Rivera calls it “one of her best yet.”\u003c/p>\n\u003cp>“It’s like salve on a million tiny paper cuts that you get reading the news every day,” says the emcee. “People have called my music ‘medicinal’ before, and I wanted to keep dishing them the antidote. My folks need healing now more than ever, so I believe I straddle the lines between writer, artist, healer and educator, all with the intent to keep each other and ourselves accountable to the harm that is happening around us and within us.\u003c/p>\n\u003cp>“The political is personal,” she says. Of course, “women know this from the moment we are born.”\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>Rocky Rivera is working on a book and album to celebrate her 10-year anniversary in hip-hop. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'America was never great / It's our greatest lie / But now they see the truth / And so do you and I'","status":"publish","parent":0,"modified":1705030883,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":831},"headData":{"title":"Rocky Rivera's 'Round We Go' Is a Call to Action: 'We Need to Organize' | KQED","description":"'America was never great / It's our greatest lie / But now they see the truth / And so do you and I'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Rocky Rivera's 'Round We Go' Is a Call to Action: 'We Need to Organize'","datePublished":"2017-04-21T19:00:20.000Z","dateModified":"2024-01-12T03:41:23.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13078404/rocky-riveras-round-we-go-is-a-call-to-action-and-a-reminder-weve-been-here-before","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked Bay Area musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. A new one is posted each week.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.rockyrivera.com/\" target=\"_blank\" rel=\"noopener\">Rocky Rivera\u003c/a>, a rapper, teacher and San Francisco native, has been making “conscious” music since before most of her students were born.\u003c/p>\n\u003cp>A former music journalist turned musician, the emcee’s lyrics have never been subtle when it comes to politics — \u003ca href=\"https://ww2.kqed.org/pop/2016/06/14/watch-the-music-video-for-oakland-mc-rocky-riveras-feminist-anthem-turn-you/\" target=\"_blank\" rel=\"noopener\">her 2016 song “Turn You,”\u003c/a> for example, is a straight-up feminist-conversion hip-hop manifesto. But after the election, says Rivera, it felt more important than ever to create music that moved people to act.\u003c/p>\n\u003cp>“Round We Go,” a collaboration with friend and frequent co-writer DJ Roza, is the result. The track came out of a retreat that the pair’s label, Beatrock, held over the holiday break. “The political mood was so somber regarding the new administration, but us artists, we were excited,” says the emcee, whose real name is Krishtine de Leon. “Beatrock Music has been making what most people call ‘political’ music since before Obama came into office, but it was relevant now more than ever.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/303585807″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/303585807″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>With only enough time for one recording session, Rocky and Roza took an instrumental loop Roza had cut and arranged from Solange’s “Where Do We Go,” from the album \u003cem>A Seat at the Table\u003c/em>, and rapped over it. The lyrics, Rocky says, are a continuation of and response to the question Solange asked: Where \u003cem>do\u003c/em> we go from here?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I answer it in my first verse,” Rocky says. “Rap music is an entry point, but not an action. We are far beyond ‘spreading awareness’ on an issue through music — we need to organize. We need to get off Facebook and engage each other IRL, including our racist family members.”\u003c/p>\n\u003cfigure id=\"attachment_13079560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13079560\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-800x534.jpg\" alt=\"Rocky and DJ Roza \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/241938_10150884321477242_2122640488_o.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rocky and DJ Roza \u003ccite>(Fred Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Per the song’s lyrics:\u003c/p>\n\u003cp>\u003cem>Now that Obama’s gone\u003cbr>\nThese racists feelin safe again\u003cbr>\nNow we got a “pussy grabber”\u003cbr>\nAs our President\u003cbr>\nIt’s hard to stop myself\u003cbr>\nFrom tellin y’all I told u so\u003cbr>\nInstead I put in the music\u003cbr>\nSo dissent can grow\u003c/em>\u003c/p>\n\u003cp>As for that growing dissent part: the emcee’s longtime career as a public school teacher in Oakland is, she says, far more than a day job. (She currently works at two high schools, Oakland Tech and Oakland High, and she’s also managed afterschool programs at McClymonds, Castlemont and in Fremont for the past five years.)\u003c/p>\n\u003cp>“I choose to work with high school youth because as a female emcee, I know that the industry has put an expiration date on me,” she says. “I know that it limits me purposely and disregards my contributions, much like how women are disregarded in many other vocations.”\u003c/p>\n\u003cp>The song’s lyrics end with a nod to the future, says the rapper, because she wanted to end on a positive note — and with a reminder that our elders have seen this before.\u003c/p>\n\u003cp>\u003cem>So I call upon the strength\u003cbr>\nOf generations past\u003cbr>\nSo they can guide our way\u003cbr>\nIlluminate a path\u003cbr>\nWe got it better now…than we ever have\u003cbr>\nIt time to finish what they started\u003cbr>\nWhere my soldiers at?\u003c/em>\u003c/p>\n\u003cp>DJ Roza and Rocky went on to create an entire mixtape, \u003cem>Winter In America\u003c/em>, around similar themes — Rivera calls it “one of her best yet.”\u003c/p>\n\u003cp>“It’s like salve on a million tiny paper cuts that you get reading the news every day,” says the emcee. “People have called my music ‘medicinal’ before, and I wanted to keep dishing them the antidote. My folks need healing now more than ever, so I believe I straddle the lines between writer, artist, healer and educator, all with the intent to keep each other and ourselves accountable to the harm that is happening around us and within us.\u003c/p>\n\u003cp>“The political is personal,” she says. Of course, “women know this from the moment we are born.”\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>Rocky Rivera is working on a book and album to celebrate her 10-year anniversary in hip-hop. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13078404/rocky-riveras-round-we-go-is-a-call-to-action-and-a-reminder-weve-been-here-before","authors":["7237"],"categories":["arts_69"],"tags":["arts_1642","arts_1620","arts_1118","arts_596"],"featImg":"arts_13079342","label":"arts"},"arts_13047110":{"type":"posts","id":"arts_13047110","meta":{"index":"posts_1591205157","site":"arts","id":"13047110","score":null,"sort":[1492196440000]},"guestAuthors":[],"slug":"on-john-elliotts-the-art-of-the-deal-a-young-trump-is-the-real-wolf-of-wall-street","title":"On John Elliott's 'The Art Of the Deal,' a Young Trump Is the Real Wolf of Wall Street","publishDate":1492196440,"format":"standard","headTitle":"On John Elliott’s ‘The Art Of the Deal,’ a Young Trump Is the Real Wolf of Wall Street | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. Each week, as part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a>, we’ll be posting a new song that responds to our current political climate.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://thehereafterishere.com\" target=\"_blank\" rel=\"noopener\">John Elliott\u003c/a> is the only person I know who, in October of 2016, unequivocally believed Donald Trump would be elected president. I heard him state it calmly a few times, including once at a party full of fellow Bay Area musicians. Everyone laughed nervously, or shuddered for a moment, then changed the subject.\u003c/p>\n\u003cp>“I knew Hillary Clinton would lose, no matter who she faced,” he says today, simply, when asked for an explanation of his prescience. A Minnesota native who’s lived in California since the turn of the millennium, Elliott is a songwriter’s songwriter: known for his wry, literate storytelling and wordplay, accompanying himself simply on guitar or piano, there’s something a little bit mystical about how powerfully he holds a room’s attention.\u003c/p>\n\u003cp>Certain of the election’s outcome, Elliott spent the early evening hours on election night on a bike ride in the Outer Sunset, not checking his phone, taking in “the end of the era.” And, though he wasn’t pleased with the night’s conclusions, he says, “I won several bets.”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/trump-book-cover.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13048415\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/trump-book-cover.jpg\" alt=\"trump-book-cover\" width=\"480\" height=\"786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trump-book-cover.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trump-book-cover-160x262.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trump-book-cover-240x393.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trump-book-cover-375x614.jpg 375w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps it’s unsurprising, then, that while some of us were assuming we’d never have to think about Trump again after Nov. 8, Elliott was pondering the president’s past in preparation for the future. Taking its name from Trump’s 1987 memoir/business how-to — the very book Pres. Trump cited during the campaign as \u003ca href=\"http://www.msnbc.com/all-in/watch/donald-trumps-favorite-book-505029187689\" target=\"_blank\" rel=\"noopener\">his second-favorite book, after The Bible\u003c/a> — Elliott’s song “The Art of the Deal” appeared on a seven-track song cycle the singer issued in October, called \u003cem>\u003ca href=\"https://www.patreon.com/posts/it-doesnt-matter-7040769\" target=\"_blank\" rel=\"noopener\">It Doesn’t Matter\u003c/a>. \u003c/em>(Other song titles include “The Most Qualified Candidate In History,” “Diminishing Numbers” and “ISIS.”)\u003c/p>\n\u003cp>“This song was a three-minute stream of consciousness improvisation and it was done,” says Elliott, “but I watched hours of Republican primaries to get there.”\u003c/p>\n\u003cp>http://media.virbcdn.com/songs/originals/fc/1681b0a107c1f7b1-TheArtOfTheDeal.mp3\u003c/p>\n\u003cp>With the election in the rearview mirror and Pres. Trump’s priorities unfurling in policy decisions nearly every day, the wheelin’-and-dealin’ business tycoon that Elliott describes on the “The Art of the Deal” seems less cartoonish and more worthy of consideration; a person who boasts about valuing money, arm candy, and ostentatious displays of luxury in the 1980s does not, shall we say, become an entirely different person by 2017. So far, being given an enormous amount of power doesn’t seem to temper these tendencies either (go figure).\u003c/p>\n\u003cp>Following the election, Elliott says studying American history has helped add some context and perspective about how we got here.\u003c/p>\n\u003cp>“The population of the United States when the Constitution was signed was 4 million. Today it is 318 million. We need to upgrade our system software. We need a new Constitutional Convention. Let’s get together and see what we can figure out.”\u003c/p>\n\u003cp>And in the meantime?\u003c/p>\n\u003cp>“This is not normal and it is not acceptable. Read the poem on the Statue of Liberty. To dissent is patriotic,” says Elliott. “Anyone with a platform, including musicians, should keep talking about it and not shut up.”\u003c/p>\n\u003cp>\u003cem>John Elliott has a new record forthcoming in July. Until then, here’s my favorite song of his recorded live:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iWOFPqeBuZU\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","blocks":[],"excerpt":"'The art of the deal / Do some Quaaludes and steal...'","status":"publish","parent":0,"modified":1705030955,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":659},"headData":{"title":"On John Elliott's 'The Art Of the Deal,' a Young Trump Is the Real Wolf of Wall Street | KQED","description":"'The art of the deal / Do some Quaaludes and steal...'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On John Elliott's 'The Art Of the Deal,' a Young Trump Is the Real Wolf of Wall Street","datePublished":"2017-04-14T19:00:40.000Z","dateModified":"2024-01-12T03:42:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13047110/on-john-elliotts-the-art-of-the-deal-a-young-trump-is-the-real-wolf-of-wall-street","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. Each week, as part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a>, we’ll be posting a new song that responds to our current political climate.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://thehereafterishere.com\" target=\"_blank\" rel=\"noopener\">John Elliott\u003c/a> is the only person I know who, in October of 2016, unequivocally believed Donald Trump would be elected president. I heard him state it calmly a few times, including once at a party full of fellow Bay Area musicians. Everyone laughed nervously, or shuddered for a moment, then changed the subject.\u003c/p>\n\u003cp>“I knew Hillary Clinton would lose, no matter who she faced,” he says today, simply, when asked for an explanation of his prescience. A Minnesota native who’s lived in California since the turn of the millennium, Elliott is a songwriter’s songwriter: known for his wry, literate storytelling and wordplay, accompanying himself simply on guitar or piano, there’s something a little bit mystical about how powerfully he holds a room’s attention.\u003c/p>\n\u003cp>Certain of the election’s outcome, Elliott spent the early evening hours on election night on a bike ride in the Outer Sunset, not checking his phone, taking in “the end of the era.” And, though he wasn’t pleased with the night’s conclusions, he says, “I won several bets.”\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/trump-book-cover.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13048415\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/trump-book-cover.jpg\" alt=\"trump-book-cover\" width=\"480\" height=\"786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trump-book-cover.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trump-book-cover-160x262.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trump-book-cover-240x393.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trump-book-cover-375x614.jpg 375w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps it’s unsurprising, then, that while some of us were assuming we’d never have to think about Trump again after Nov. 8, Elliott was pondering the president’s past in preparation for the future. Taking its name from Trump’s 1987 memoir/business how-to — the very book Pres. Trump cited during the campaign as \u003ca href=\"http://www.msnbc.com/all-in/watch/donald-trumps-favorite-book-505029187689\" target=\"_blank\" rel=\"noopener\">his second-favorite book, after The Bible\u003c/a> — Elliott’s song “The Art of the Deal” appeared on a seven-track song cycle the singer issued in October, called \u003cem>\u003ca href=\"https://www.patreon.com/posts/it-doesnt-matter-7040769\" target=\"_blank\" rel=\"noopener\">It Doesn’t Matter\u003c/a>. \u003c/em>(Other song titles include “The Most Qualified Candidate In History,” “Diminishing Numbers” and “ISIS.”)\u003c/p>\n\u003cp>“This song was a three-minute stream of consciousness improvisation and it was done,” says Elliott, “but I watched hours of Republican primaries to get there.”\u003c/p>\n\u003cp>http://media.virbcdn.com/songs/originals/fc/1681b0a107c1f7b1-TheArtOfTheDeal.mp3\u003c/p>\n\u003cp>With the election in the rearview mirror and Pres. Trump’s priorities unfurling in policy decisions nearly every day, the wheelin’-and-dealin’ business tycoon that Elliott describes on the “The Art of the Deal” seems less cartoonish and more worthy of consideration; a person who boasts about valuing money, arm candy, and ostentatious displays of luxury in the 1980s does not, shall we say, become an entirely different person by 2017. So far, being given an enormous amount of power doesn’t seem to temper these tendencies either (go figure).\u003c/p>\n\u003cp>Following the election, Elliott says studying American history has helped add some context and perspective about how we got here.\u003c/p>\n\u003cp>“The population of the United States when the Constitution was signed was 4 million. Today it is 318 million. We need to upgrade our system software. We need a new Constitutional Convention. Let’s get together and see what we can figure out.”\u003c/p>\n\u003cp>And in the meantime?\u003c/p>\n\u003cp>“This is not normal and it is not acceptable. Read the poem on the Statue of Liberty. To dissent is patriotic,” says Elliott. “Anyone with a platform, including musicians, should keep talking about it and not shut up.”\u003c/p>\n\u003cp>\u003cem>John Elliott has a new record forthcoming in July. Until then, here’s my favorite song of his recorded live:\u003c/em>\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/iWOFPqeBuZU'\n title='//www.youtube.com/embed/iWOFPqeBuZU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13047110/on-john-elliotts-the-art-of-the-deal-a-young-trump-is-the-real-wolf-of-wall-street","authors":["7237"],"categories":["arts_69"],"tags":["arts_1642","arts_1620","arts_1118","arts_2415","arts_596"],"featImg":"arts_13048196","label":"arts"},"arts_12900447":{"type":"posts","id":"arts_12900447","meta":{"index":"posts_1591205157","site":"arts","id":"12900447","score":null,"sort":[1489701658000]},"guestAuthors":[],"slug":"artist-michele-pred-wears-her-feminism-on-her-sleeve-and-on-her-handbags","title":"Artist Michele Pred Wears Her Feminism On Her Sleeve — and On Her Handbags","publishDate":1489701658,"format":"standard","headTitle":"Artist Michele Pred Wears Her Feminism On Her Sleeve — and On Her Handbags | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In January of this year, the Women’s March marked a landmark day for handmade posterboard signs. But for feminist statements that \u003cem>won’t\u003c/em> get soggy in the rain, there’s the work of Michele Pred, a Bay Area artist who has garnered buzz and accolades from some very famous fans in the months surrounding the election of Donald Trump.\u003c/p>\n\u003cfigure id=\"attachment_12904459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/static1.squarespace.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12904459\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/static1.squarespace-800x800.jpg\" alt=\"One of Pred's "vote" bags\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of Pred’s “vote” bags.\u003c/figcaption>\u003c/figure>\n\u003cp>Pred, who was born in San Francisco and grew up in both Berkeley and Sweden, makes accessories (like handbags bearing straightforward political messages like “Pro Choice”) as well as large-scale installations (like \u003cem>Homeland Security\u003c/em>, comprised of objects confiscated at airports by the TSA). Supreme Court Justice Sonia Sotomayor has said that Pred’s work “is an important offering for its relevance to the times.” Comedian Amy Schumer let an image speak a thousand words in February when\u003ca href=\"https://www.instagram.com/p/BP-UnhKl2WO/?hl=en\" target=\"_blank\" rel=\"noopener\"> she posted an Instagram video\u003c/a> of a Michele Pred handbag reading “Pro Choice” on one side and “Nasty Woman” on the other.\u003c/p>\n\u003cp>Locally, Pred’s work is included in the \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/rise-art-action\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project’s group exhibition \u003cem>RISE UP! Art as Action\u003c/em> in San Francisco, on view through May 6\u003c/a>. We asked her a few questions over email.\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>\u003cstrong>I know you grew up partially in Sweden; how do you think your experience with living abroad and experiencing a political system that’s very different from ours has affected your perspective on our current situation?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Growing up in Sweden had a huge effect on me and the way I think politically. The political choices they have made in Sweden helped create an extremely high standard of living without the extremes of poverty or wealth we have here. Neither has this balance come at the expense of personal freedom. Sweden is able to think in the longer term and, partially due to an excellent education system, consider issues in all of their complexity without resorting to the easiest, most comfortable answer. For example, women in Sweden have 18 months of paid parental leave, and men have a mandatory three months’ paid parental leave, contributing to the overall sense of well-being. I would never say that their system is perfect, but the U.S. could learn a great deal if only we could set aside our political labels.\u003c/p>\n\u003cp>My political views have also been greatly influenced by my parents. My mother, who ventured away from Sweden as a young woman in the 1950s, was determined, independent and fierce. She also built a strong bridge for our family back to Sweden. My father was a Professor in Cultural Geography at UC Berkeley for over 40 years and was extremely political with a passion for social justice. It was the norm to sit around the dinner table and critically discuss current political affairs across the globe.\u003c/p>\n\u003cfigure id=\"attachment_12904460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12904460\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-800x550.jpg\" alt=\"An American flag made from confiscated pocket knives, part of Pred's 'Homeland Security' piece\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-375x258.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-520x358.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5.jpg 855w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An American flag made from confiscated pocket knives, part of Pred’s ‘Homeland Security’ piece.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you spent election night? Was your initial reaction to make art about it?\u003c/strong>\u003c/p>\n\u003cp>I spent election night at a Hillary party at our neighbors’ house. I had gone so far as to buy a cake that said “Hillary” on it, bought balloons and red, white and blue decorations and a really good bottle of champagne. We thought we were going to be celebrating a historic event. As the evening progressed, I was initially in denial about the direction the election was going. I thought Hillary would pick up more states later in the evening. One by one people started to leave the party when we realized what direction the election was going. I was in shock. Needless to say, we never drank that bottle of champagne.\u003c/p>\n\u003cp>The day after, and the following week, I was simply in shock. I wanted to start making artwork about the election right away, but I just couldn’t. Up until the election I was responding immediately to Trump’s actions and words. I made a “Nasty Woman” purse the morning after that debate and a “Pussy Grabs Back” the day after the audio came out in the media. To be honest, I was exhausted after campaigning all year with my various art projects (\u003ca href=\"http://hyperallergic.com/334444/on-anniversary-of-the-patriot-act-artist-passes-out-pocket-knives-at-the-airport/\">Patriot Act Performance\u003c/a> and \u003ca href=\"http://herbodyhervote.com/home.html\">HerBodyHerVote\u003c/a>) and I was hoping to take a little break. But we lost, and it was devastating, so I just had to pull up my bootstraps and march on with my work!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12904461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-800x800.jpg\" alt=\"d002d1dabe36e1a40641e964b3dfa3b3\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3.jpg 1220w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>How do you see the role of the artist within a protest movement? What is your responsibility?\u003c/strong>\u003c/p>\n\u003cp>As an artist, I feel it’s my role to spark conversation and reflection about the world around us with or without a protest movement. However, the current environment certainly adds a sense of urgency to my work and makes those conversations all the more important. The movement also helps amplify all of our voices and can draw new attention to issues that may have been hard to hear only a year ago.\u003c/p>\n\u003cp>Still, for the next four years, my focus will remain on the issues that I have always cared about. In that way, I hope to help us all avoid being distracted by the more frivolous sideshows and intentional misdirections we are being fed.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront.jpg\" alt=\"d7hftxdivxxvm.cloudfront\" width=\"350\" height=\"254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront.jpg 350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront-240x174.jpg 240w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Your handbags and other pieces bearing pro-choice messages have garnered a lot of attention in these volatile times for women’s rights. How does one make pro-choice art without feeling like one is preaching to the choir? Do you set out to change people’s minds, or is serving as a source of strength and inspiration for folks who already share your viewpoints enough?\u003c/strong>\u003c/p>\n\u003cp>One important aspect of my current artwork is to support pro-choice organizations like NARAL and Planned Parenthood. I have been donating a percentage of my sales to these organizations since 2013, particularly through events sponsored by those organizations. They do work for abortion and reproductive rights that I am unable to do, so I see that as an extension of my work. I also see my purses, T-shirts, tote bags and pins as small-scale mobile political billboards that carry pro-choice messages into the public beyond the art gallery. Those, along with the actual billboards I have run, are meant to encourage dialogue. Sometimes that dialogue is charged and not necessarily fruitful, but I often see it working to clarify viewpoints and work out issues.\u003c/p>\n\u003cfigure id=\"attachment_12904462\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/michele-pred-shirt.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/michele-pred-shirt.jpg\" alt=\"One version of Michele Pred's 'her body her business' shirt being modeled by a friend\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One version of Michele Pred’s ‘Her Body Her Business’ shirt being modeled by a friend. \u003ccite>(Courtesy Michele Pred)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was a pro-life blog that created a visually beautiful article about the pro-choice pieces with many images of my work. I have hopes that it might have led some people to stop and think about the ideas I was presenting.\u003c/p>\n\u003cp>When I sent out the “Her Body Her Business” T-shirts to all U.S. Senators before the election, I received several responses. One was a thoughtful and respectful letter from John McCain. Naturally we have completely opposing ideas about reproductive rights but he opened up a dialogue with me and I plan on writing him back to continue the discussion. If we can understand each other more, maybe we can actually create some lasting change.\u003c/p>\n\u003cp>But, my work is absolutely about serving as a source of strength and inspiration too. We desperately need this right now.\u003c/p>\n\u003cp>\u003cstrong>How did your “VOTE” bag wind up in the hands of Hillary Clinton?\u003c/strong>\u003c/p>\n\u003cp>I started making “VOTE” bags in April last year to emphasize the importance of the female vote. Then, last June, I received a Pro Choice Leadership Award from Personal PAC, a pro-choice Super PAC in Illinois. They held a fundraiser in a Gallery in Chicago where I had my work on display and I was donating a portion of the sale of my pieces to Personal PAC. I had the “VOTE” purse on display, but that particular piece was not yet for sale. A very prominent collector asked if she could buy it, and I told her no, as I had already promised it to my gallery in New York. She then asked me if I would sell it to her if she gifted it to Hillary, and naturally, I said yes! The collector gave the purse to Hillary in person.\u003c/p>\n\u003cfigure id=\"attachment_12904463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12904463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-800x533.jpg\" alt=\"Purses from an installation called 'Wage Gaps'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Purses from an installation called ‘Wage Gaps.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you have coming up in your work that you’re most excited about? Are there any topics you feel you absolutely must comment on? \u003c/strong>\u003c/p>\n\u003cp>I am also working on a series of riot shields with feminist slogans emblazoned on them with pink nail polish. I purchase the shields online from a police supply business.\u003c/p>\n\u003cp>I carried the first one I made to Inauguration Day in D.C. [see photo, above, of Pred with police in riot gear]. It is currently on view at Southern Exposure in the \u003ca href=\"https://www.soex.org/events/100-days-action\" target=\"_blank\" rel=\"noopener\">100 Days Action\u003c/a> exhibit. Right now, I’m also working on a round riot shield with the text “Nevertheless She Persisted.” It is still in process so I do not have an image of it yet. I plan on making approximately 7–10 more shields (both round and rectangular) and creating a large-scale wall installation. I hope to show it in the next few months at an art fair or other venue.\u003c/p>\n\u003cp>\u003cstrong>Who do you look to for inspiration in times like the present? \u003c/strong>\u003c/p>\n\u003cp>I have been very inspired by female artists like Barbara Kruger and Jenny Holzer. Locally, I love the project Ana Teresa Fernandez is doing with painting the Mexican border wall, and Taraneh Hemami creates great work as well.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Michele Pred’s work is on view at the Minnesota Street Project in San Francisco through May 6 and Southern Exposure through March 19. For more, check out her website at \u003ca href=\"http://michelepred.com\" target=\"_blank\" rel=\"noopener\">michelepred.com\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With straightforward statements on gender equality, one Bay Area artist has made fans out of Supreme Court Justice Sonia Sotomayor and comedian Amy Schumer alike. ","status":"publish","parent":0,"modified":1705031215,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1691},"headData":{"title":"Artist Michele Pred Wears Her Feminism On Her Sleeve — and On Her Handbags | KQED","description":"With straightforward statements on gender equality, one Bay Area artist has made fans out of Supreme Court Justice Sonia Sotomayor and comedian Amy Schumer alike. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Artist Michele Pred Wears Her Feminism On Her Sleeve — and On Her Handbags","datePublished":"2017-03-16T22:00:58.000Z","dateModified":"2024-01-12T03:46:55.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12900447/artist-michele-pred-wears-her-feminism-on-her-sleeve-and-on-her-handbags","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In January of this year, the Women’s March marked a landmark day for handmade posterboard signs. But for feminist statements that \u003cem>won’t\u003c/em> get soggy in the rain, there’s the work of Michele Pred, a Bay Area artist who has garnered buzz and accolades from some very famous fans in the months surrounding the election of Donald Trump.\u003c/p>\n\u003cfigure id=\"attachment_12904459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/static1.squarespace.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12904459\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/static1.squarespace-800x800.jpg\" alt=\"One of Pred's "vote" bags\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/static1.squarespace.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of Pred’s “vote” bags.\u003c/figcaption>\u003c/figure>\n\u003cp>Pred, who was born in San Francisco and grew up in both Berkeley and Sweden, makes accessories (like handbags bearing straightforward political messages like “Pro Choice”) as well as large-scale installations (like \u003cem>Homeland Security\u003c/em>, comprised of objects confiscated at airports by the TSA). Supreme Court Justice Sonia Sotomayor has said that Pred’s work “is an important offering for its relevance to the times.” Comedian Amy Schumer let an image speak a thousand words in February when\u003ca href=\"https://www.instagram.com/p/BP-UnhKl2WO/?hl=en\" target=\"_blank\" rel=\"noopener\"> she posted an Instagram video\u003c/a> of a Michele Pred handbag reading “Pro Choice” on one side and “Nasty Woman” on the other.\u003c/p>\n\u003cp>Locally, Pred’s work is included in the \u003ca href=\"http://minnesotastreetproject.com/exhibitions/1275-minnesota-st/rise-art-action\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project’s group exhibition \u003cem>RISE UP! Art as Action\u003c/em> in San Francisco, on view through May 6\u003c/a>. We asked her a few questions over email.\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>\u003cstrong>I know you grew up partially in Sweden; how do you think your experience with living abroad and experiencing a political system that’s very different from ours has affected your perspective on our current situation?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Growing up in Sweden had a huge effect on me and the way I think politically. The political choices they have made in Sweden helped create an extremely high standard of living without the extremes of poverty or wealth we have here. Neither has this balance come at the expense of personal freedom. Sweden is able to think in the longer term and, partially due to an excellent education system, consider issues in all of their complexity without resorting to the easiest, most comfortable answer. For example, women in Sweden have 18 months of paid parental leave, and men have a mandatory three months’ paid parental leave, contributing to the overall sense of well-being. I would never say that their system is perfect, but the U.S. could learn a great deal if only we could set aside our political labels.\u003c/p>\n\u003cp>My political views have also been greatly influenced by my parents. My mother, who ventured away from Sweden as a young woman in the 1950s, was determined, independent and fierce. She also built a strong bridge for our family back to Sweden. My father was a Professor in Cultural Geography at UC Berkeley for over 40 years and was extremely political with a passion for social justice. It was the norm to sit around the dinner table and critically discuss current political affairs across the globe.\u003c/p>\n\u003cfigure id=\"attachment_12904460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12904460\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-800x550.jpg\" alt=\"An American flag made from confiscated pocket knives, part of Pred's 'Homeland Security' piece\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-375x258.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5-520x358.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/db97972423f562a920eeda4c58125ef5.jpg 855w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An American flag made from confiscated pocket knives, part of Pred’s ‘Homeland Security’ piece.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you spent election night? Was your initial reaction to make art about it?\u003c/strong>\u003c/p>\n\u003cp>I spent election night at a Hillary party at our neighbors’ house. I had gone so far as to buy a cake that said “Hillary” on it, bought balloons and red, white and blue decorations and a really good bottle of champagne. We thought we were going to be celebrating a historic event. As the evening progressed, I was initially in denial about the direction the election was going. I thought Hillary would pick up more states later in the evening. One by one people started to leave the party when we realized what direction the election was going. I was in shock. Needless to say, we never drank that bottle of champagne.\u003c/p>\n\u003cp>The day after, and the following week, I was simply in shock. I wanted to start making artwork about the election right away, but I just couldn’t. Up until the election I was responding immediately to Trump’s actions and words. I made a “Nasty Woman” purse the morning after that debate and a “Pussy Grabs Back” the day after the audio came out in the media. To be honest, I was exhausted after campaigning all year with my various art projects (\u003ca href=\"http://hyperallergic.com/334444/on-anniversary-of-the-patriot-act-artist-passes-out-pocket-knives-at-the-airport/\">Patriot Act Performance\u003c/a> and \u003ca href=\"http://herbodyhervote.com/home.html\">HerBodyHerVote\u003c/a>) and I was hoping to take a little break. But we lost, and it was devastating, so I just had to pull up my bootstraps and march on with my work!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12904461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-800x800.jpg\" alt=\"d002d1dabe36e1a40641e964b3dfa3b3\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d002d1dabe36e1a40641e964b3dfa3b3.jpg 1220w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>How do you see the role of the artist within a protest movement? What is your responsibility?\u003c/strong>\u003c/p>\n\u003cp>As an artist, I feel it’s my role to spark conversation and reflection about the world around us with or without a protest movement. However, the current environment certainly adds a sense of urgency to my work and makes those conversations all the more important. The movement also helps amplify all of our voices and can draw new attention to issues that may have been hard to hear only a year ago.\u003c/p>\n\u003cp>Still, for the next four years, my focus will remain on the issues that I have always cared about. In that way, I hope to help us all avoid being distracted by the more frivolous sideshows and intentional misdirections we are being fed.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront.jpg\" alt=\"d7hftxdivxxvm.cloudfront\" width=\"350\" height=\"254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront.jpg 350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/d7hftxdivxxvm.cloudfront-240x174.jpg 240w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Your handbags and other pieces bearing pro-choice messages have garnered a lot of attention in these volatile times for women’s rights. How does one make pro-choice art without feeling like one is preaching to the choir? Do you set out to change people’s minds, or is serving as a source of strength and inspiration for folks who already share your viewpoints enough?\u003c/strong>\u003c/p>\n\u003cp>One important aspect of my current artwork is to support pro-choice organizations like NARAL and Planned Parenthood. I have been donating a percentage of my sales to these organizations since 2013, particularly through events sponsored by those organizations. They do work for abortion and reproductive rights that I am unable to do, so I see that as an extension of my work. I also see my purses, T-shirts, tote bags and pins as small-scale mobile political billboards that carry pro-choice messages into the public beyond the art gallery. Those, along with the actual billboards I have run, are meant to encourage dialogue. Sometimes that dialogue is charged and not necessarily fruitful, but I often see it working to clarify viewpoints and work out issues.\u003c/p>\n\u003cfigure id=\"attachment_12904462\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/michele-pred-shirt.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/michele-pred-shirt.jpg\" alt=\"One version of Michele Pred's 'her body her business' shirt being modeled by a friend\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/michele-pred-shirt-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One version of Michele Pred’s ‘Her Body Her Business’ shirt being modeled by a friend. \u003ccite>(Courtesy Michele Pred)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was a pro-life blog that created a visually beautiful article about the pro-choice pieces with many images of my work. I have hopes that it might have led some people to stop and think about the ideas I was presenting.\u003c/p>\n\u003cp>When I sent out the “Her Body Her Business” T-shirts to all U.S. Senators before the election, I received several responses. One was a thoughtful and respectful letter from John McCain. Naturally we have completely opposing ideas about reproductive rights but he opened up a dialogue with me and I plan on writing him back to continue the discussion. If we can understand each other more, maybe we can actually create some lasting change.\u003c/p>\n\u003cp>But, my work is absolutely about serving as a source of strength and inspiration too. We desperately need this right now.\u003c/p>\n\u003cp>\u003cstrong>How did your “VOTE” bag wind up in the hands of Hillary Clinton?\u003c/strong>\u003c/p>\n\u003cp>I started making “VOTE” bags in April last year to emphasize the importance of the female vote. Then, last June, I received a Pro Choice Leadership Award from Personal PAC, a pro-choice Super PAC in Illinois. They held a fundraiser in a Gallery in Chicago where I had my work on display and I was donating a portion of the sale of my pieces to Personal PAC. I had the “VOTE” purse on display, but that particular piece was not yet for sale. A very prominent collector asked if she could buy it, and I told her no, as I had already promised it to my gallery in New York. She then asked me if I would sell it to her if she gifted it to Hillary, and naturally, I said yes! The collector gave the purse to Hillary in person.\u003c/p>\n\u003cfigure id=\"attachment_12904463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12904463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-800x533.jpg\" alt=\"Purses from an installation called 'Wage Gaps'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Wage-Gaps-Installation.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Purses from an installation called ‘Wage Gaps.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you have coming up in your work that you’re most excited about? Are there any topics you feel you absolutely must comment on? \u003c/strong>\u003c/p>\n\u003cp>I am also working on a series of riot shields with feminist slogans emblazoned on them with pink nail polish. I purchase the shields online from a police supply business.\u003c/p>\n\u003cp>I carried the first one I made to Inauguration Day in D.C. [see photo, above, of Pred with police in riot gear]. It is currently on view at Southern Exposure in the \u003ca href=\"https://www.soex.org/events/100-days-action\" target=\"_blank\" rel=\"noopener\">100 Days Action\u003c/a> exhibit. Right now, I’m also working on a round riot shield with the text “Nevertheless She Persisted.” It is still in process so I do not have an image of it yet. I plan on making approximately 7–10 more shields (both round and rectangular) and creating a large-scale wall installation. I hope to show it in the next few months at an art fair or other venue.\u003c/p>\n\u003cp>\u003cstrong>Who do you look to for inspiration in times like the present? \u003c/strong>\u003c/p>\n\u003cp>I have been very inspired by female artists like Barbara Kruger and Jenny Holzer. Locally, I love the project Ana Teresa Fernandez is doing with painting the Mexican border wall, and Taraneh Hemami creates great work as well.\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Michele Pred’s work is on view at the Minnesota Street Project in San Francisco through May 6 and Southern Exposure through March 19. For more, check out her website at \u003ca href=\"http://michelepred.com\" target=\"_blank\" rel=\"noopener\">michelepred.com\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12900447/artist-michele-pred-wears-her-feminism-on-her-sleeve-and-on-her-handbags","authors":["7237"],"categories":["arts_1","arts_70"],"tags":["arts_1642","arts_1620","arts_1118","arts_596"],"featImg":"arts_12904432","label":"arts"},"arts_12808123":{"type":"posts","id":"arts_12808123","meta":{"index":"posts_1591205157","site":"arts","id":"12808123","score":null,"sort":[1488038442000]},"guestAuthors":[],"slug":"las-cafeteras-imagine-a-radically-peaceful-future-in-if-i-was-president","title":"Las Cafeteras Imagine a Radically Peaceful Future In 'If I Was President'","publishDate":1488038442,"format":"standard","headTitle":"Las Cafeteras Imagine a Radically Peaceful Future In ‘If I Was President’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. Over the next couple months, I’ll be highlighting the most compelling entries I receive, along with a few words from the artist about their inspirations and intentions.\u003c/em>\u003c/p>\n\u003ch3>Las Cafeteras, “If I Was President”\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1806630540/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3325793658/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>In 2004, halfway through then-President George W. Bush’s first term, Wyclef Jean released “If I Was President.” Over an acoustic guitar riff, the Haiti-born rapper predicted dryly what might happen if he, a black man advocating for free education and services for the homeless, were elected president: he’d be assassinated immediately.\u003c/p>\n\u003cp>Thirteen years later, one could say a lot’s changed. Not only did the U.S. elect a black president twice, Barack Obama turned out to be one of the most celebrated presidents in modern history. And yet, just a month into Pres. Donald Trump’s administration, the lyrics to Las Cafeteras’ new single “If I Was President” — in which the six-person Los Angeles band sings in Spanish and English about reducing incarceration, providing free education, and mandating a living wage — sound at once fresh and all too familiar:\u003c/p>\n\u003cp>\u003cem>Educate myself \u003c/em>\u003cbr>\n\u003cem>On our current situation \u003c/em>\u003cbr>\n\u003cem>When we pay a living wage \u003c/em>\u003cbr>\n\u003cem>We’ll have less incarceration \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>And my first lady \u003c/em>\u003cbr>\n\u003cem>Would be my moms \u003c/em>\u003cbr>\n\u003cem>Cause she’d slap me \u003c/em>\u003cbr>\n\u003cem>At the first thought of drone strikes \u003c/em>\u003cbr>\n\u003cem>And dropping bombs \u003c/em>\u003c/p>\n\u003cp>\u003cem>We’d Free my poor black and brown kids \u003c/em>\u003cbr>\n\u003cem>that got caught up in 3 strikes \u003c/em>\u003cbr>\n\u003cem>And when they get out \u003c/em>\u003cbr>\n\u003cem>They gettin’ free bikes\u003c/em>\u003c/p>\n\u003cp>The track, which serves as the first single on Las Cafeteras’ new record \u003cem>Tastes Like L.A.,\u003c/em> was released as a free download on Jan. 20 — Presidents’ Day.\u003c/p>\n\u003cp>“We wanted to engage people’s imaginations about the future of this country,” wrote the band in a statement accompanying the song. “Everyone knows what’s wrong, but not many know what to do. We hope to push people to think about themselves as presidents of their homes, schools, workplaces and to create the kind of country they would like to see starting from the local and moving outward.”\u003c/p>\n\u003cp>On the heels of reports that Pres. Trump plans to direct more federal resources toward \u003ca href=\"https://www.nytimes.com/2017/02/21/us/politics/dhs-immigration-trump.html?_r=0\" target=\"_blank\" rel=\"noopener\">aggressively pursuing and deporting undocumented immigrants\u003c/a>, it’s an especially powerful message coming from a group of first-generation Americans. Las Cafeteras blend punk- and hip-hop-influenced songwriting with popular Latin musical styles like cumbia — a fitting concoction for a band made up of \u003ca href=\"http://lascafeteras.com/biography/\" target=\"_blank\" rel=\"noopener\">young people who grew up in diverse East L.A. neighborhoods, raised by parents from Mexico\u003c/a>.\u003c/p>\n\u003cp>The band is touring the U.S. leading up to \u003cem>Tastes Like L.A.\u003c/em>‘s release on April 14. They’ll perform at the Social Hall in San Francisco on April 8, and at the Rio Theatre in Santa Cruz April 15. The band also plans to release audio stems for “If I Was President,” allowing remixers to create and share their own versions of the song.\u003c/p>\n\u003cp>“The President says he wants to build a wall,” said band member Denise Carlos. “Las Cafeteras want to build bridges.”\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","blocks":[],"excerpt":"'We hope to push people to think about themselves as presidents of their homes, schools, workplaces ... to create the kind of country they would like to see.'","status":"publish","parent":0,"modified":1705031429,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1806630540/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3325793658/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":623},"headData":{"title":"Las Cafeteras Imagine a Radically Peaceful Future In 'If I Was President' | KQED","description":"'We hope to push people to think about themselves as presidents of their homes, schools, workplaces ... to create the kind of country they would like to see.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Las Cafeteras Imagine a Radically Peaceful Future In 'If I Was President'","datePublished":"2017-02-25T16:00:42.000Z","dateModified":"2024-01-12T03:50:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12808123/las-cafeteras-imagine-a-radically-peaceful-future-in-if-i-was-president","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. Over the next couple months, I’ll be highlighting the most compelling entries I receive, along with a few words from the artist about their inspirations and intentions.\u003c/em>\u003c/p>\n\u003ch3>Las Cafeteras, “If I Was President”\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1806630540/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3325793658/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>In 2004, halfway through then-President George W. Bush’s first term, Wyclef Jean released “If I Was President.” Over an acoustic guitar riff, the Haiti-born rapper predicted dryly what might happen if he, a black man advocating for free education and services for the homeless, were elected president: he’d be assassinated immediately.\u003c/p>\n\u003cp>Thirteen years later, one could say a lot’s changed. Not only did the U.S. elect a black president twice, Barack Obama turned out to be one of the most celebrated presidents in modern history. And yet, just a month into Pres. Donald Trump’s administration, the lyrics to Las Cafeteras’ new single “If I Was President” — in which the six-person Los Angeles band sings in Spanish and English about reducing incarceration, providing free education, and mandating a living wage — sound at once fresh and all too familiar:\u003c/p>\n\u003cp>\u003cem>Educate myself \u003c/em>\u003cbr>\n\u003cem>On our current situation \u003c/em>\u003cbr>\n\u003cem>When we pay a living wage \u003c/em>\u003cbr>\n\u003cem>We’ll have less incarceration \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>And my first lady \u003c/em>\u003cbr>\n\u003cem>Would be my moms \u003c/em>\u003cbr>\n\u003cem>Cause she’d slap me \u003c/em>\u003cbr>\n\u003cem>At the first thought of drone strikes \u003c/em>\u003cbr>\n\u003cem>And dropping bombs \u003c/em>\u003c/p>\n\u003cp>\u003cem>We’d Free my poor black and brown kids \u003c/em>\u003cbr>\n\u003cem>that got caught up in 3 strikes \u003c/em>\u003cbr>\n\u003cem>And when they get out \u003c/em>\u003cbr>\n\u003cem>They gettin’ free bikes\u003c/em>\u003c/p>\n\u003cp>The track, which serves as the first single on Las Cafeteras’ new record \u003cem>Tastes Like L.A.,\u003c/em> was released as a free download on Jan. 20 — Presidents’ Day.\u003c/p>\n\u003cp>“We wanted to engage people’s imaginations about the future of this country,” wrote the band in a statement accompanying the song. “Everyone knows what’s wrong, but not many know what to do. We hope to push people to think about themselves as presidents of their homes, schools, workplaces and to create the kind of country they would like to see starting from the local and moving outward.”\u003c/p>\n\u003cp>On the heels of reports that Pres. Trump plans to direct more federal resources toward \u003ca href=\"https://www.nytimes.com/2017/02/21/us/politics/dhs-immigration-trump.html?_r=0\" target=\"_blank\" rel=\"noopener\">aggressively pursuing and deporting undocumented immigrants\u003c/a>, it’s an especially powerful message coming from a group of first-generation Americans. Las Cafeteras blend punk- and hip-hop-influenced songwriting with popular Latin musical styles like cumbia — a fitting concoction for a band made up of \u003ca href=\"http://lascafeteras.com/biography/\" target=\"_blank\" rel=\"noopener\">young people who grew up in diverse East L.A. neighborhoods, raised by parents from Mexico\u003c/a>.\u003c/p>\n\u003cp>The band is touring the U.S. leading up to \u003cem>Tastes Like L.A.\u003c/em>‘s release on April 14. They’ll perform at the Social Hall in San Francisco on April 8, and at the Rio Theatre in Santa Cruz April 15. The band also plans to release audio stems for “If I Was President,” allowing remixers to create and share their own versions of the song.\u003c/p>\n\u003cp>“The President says he wants to build a wall,” said band member Denise Carlos. “Las Cafeteras want to build bridges.”\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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12808123/las-cafeteras-imagine-a-radically-peaceful-future-in-if-i-was-president","authors":["7237"],"categories":["arts_69"],"tags":["arts_1642","arts_1620","arts_1118","arts_596"],"featImg":"arts_12808127","label":"arts"},"arts_12780947":{"type":"posts","id":"arts_12780947","meta":{"index":"posts_1591205157","site":"arts","id":"12780947","score":null,"sort":[1487707246000]},"guestAuthors":[],"slug":"with-shanghai-angel-heather-klein-tells-a-timely-refugee-tale","title":"With 'Shanghai Angel,' Heather Klein Tells a Timely Refugee Tale","publishDate":1487707246,"format":"standard","headTitle":"With ‘Shanghai Angel,’ Heather Klein Tells a Timely Refugee Tale | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Heather Klein couldn’t have predicted the current political climate when she first began work on her new musical performance piece, \u003cem>Shanghai Angel\u003c/em>. But somehow, it’s being released into the world — it premieres at San Francisco’s Contemporary Jewish Museum on Feb. 23 and 26 — at what some might say is exactly the right moment.\u003c/p>\n\u003cp>\u003cem>Shanghai Angel\u003c/em> tells the story of Klein’s grandmother who fled Nazi-occupied Austria for China, where she boarded a boat to the United States and was summarily detained for nearly two weeks on Angel Island. Her perilous journey contains striking parallels to these perplexing political times of immigration bans and mass confusion.\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>“I started working on this over a year and a half ago. I never could have imagined that I’d be putting this show on at a time that this is a topic, this is a reality,” says Klein from her home in Las Vegas, where she moved from San Francisco a little over a year ago. “It’s mind-boggling, actually.”\u003c/p>\n\u003cp>In the musical, Klein performs songs she composed from the perspective of her grandmother. The 45-minute show, featuring nine original songs and live piano and percussion accompaniment by Joshua Horowitz, will be followed by a short discussion with experts from the Angel Island Immigration Station Foundation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Klein is a classically trained soprano who’s traveled the world both as a soloist and with various ensembles, and who is currently cantorial soloist at Temple Sinai in Las Vegas. In the past, she’s performed a modern Yiddish song cycle for Yom HaShoah — also at the CJM — as well as the role of Lilith in \u003cem>Lilith the Night Demon\u003c/em> by Veretski Pass. She’s also currently working on an opera about Cuba and Jews with Sundance and Music Theater Group. But \u003cem>Shanghai Angel\u003c/em> is her first foray into composing music and writing her own show.\u003c/p>\n\u003cp>The idea for \u003cem>Shanghai Angel\u003c/em> came after Klein’s family found the transcribed story of Rosa Ginsberg — Klein’s paternal grandmother — written by a volunteer at Angel Island’s immigration station.\u003c/p>\n\u003cfigure id=\"attachment_12792365\" class=\"wp-caption aligncenter\" style=\"max-width: 408px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12792365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645.png\" alt=\"Rosa Klein with husband, Herbert, 1945\" width=\"408\" height=\"268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645.png 408w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645-240x158.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645-375x246.png 375w\" sizes=\"(max-width: 408px) 100vw, 408px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rosa Klein with husband, Herbert, 1945. \u003ccite>(via J Weekly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Klein’s father was doing a basic Google search when he happened upon the detainment story. They’d all known bits and pieces of Rosa’s life in Vienna and Shanghai, but the finding revealed much more, says Klein. Grandma Rosa, since deceased, had rarely talked about her past.\u003c/p>\n\u003cp>They learned how she’d escaped Vienna in December 1938, shortly after Kristallnacht, thanks to Ho Feng-Shan, a man known as the “Chinese Schindler” of Vienna. How she was the sole breadwinner in Shanghai and got a job in a curiosity shop in Tianjin (then known as Tientsin). Lastly, and most integral to \u003cem>Shanghai Angel\u003c/em>, they learned how Rosa, at age 18, had been detained upon her solo arrival in San Francisco. She had $2.50 to her name. Klein based her musical on her own understanding of these events and Rosa’s time at Angel Island, trying to imagine what she must have been going through during her journey.\u003c/p>\n\u003cp>“The show is really about her being trapped at Angel Island during those three weeks and looking back on her journey there from Vienna,” explains Klein. “I can only imagine the dark place she was in, being alone, having left her only family and trying to get to the United States.”\u003c/p>\n\u003cfigure id=\"attachment_12796343\" class=\"wp-caption alignright\" style=\"max-width: 533px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12796343\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/klein.inline.jpg\" alt=\"Heather Klein.\" width=\"533\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline-520x780.jpg 520w\" sizes=\"(max-width: 533px) 100vw, 533px\">\u003cfigcaption class=\"wp-caption-text\">Heather Klein. \u003ccite>(Betsy Kershner )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Klein says creating the piece was emotional work, but credits help along the way from family and friends — including her cousin Ben, an actor who helped dramatize the story, and her parents and aunt who provided additional (and sometimes conflicting) stories of her grandmother.\u003c/p>\n\u003cp>Emotions are also bubbling, Klein says, due to the connections to current U.S. policies. “It’s gotten more emotional as I’ve gotten closer to performing it, because of the news and this horrific reality,” she says. “It’s just setting in that it’s happening. It’s almost like ‘Oh my god, it’s happening again.”’\u003c/p>\n\u003cp>“Every time I hear something about people being detained… I’m just so inside this story right now. It’s very scary,” she says.\u003c/p>\n\u003cp>But there’s also a part of her that sees \u003cem>Shanghai Angel\u003c/em> premiering at this time for a reason. “Now I’m even more excited to tell it because I think it needs to be told, people need to hear it,” Klein says. She intentionally created a show that’s easy travel with — just her and her “partner in crime” Horowitz — with the idea of taking it on the road and performing for as many people as possible.\u003c/p>\n\u003cp>She hopes attendees will leave the performance spurred to ask their own family members questions about their past, to learn their stories while they’re still around. But in a broader sense, she says she wants \u003cem>Shanghai Angel\u003c/em> to encourage understanding of all immigrants and refugees.\u003c/p>\n\u003cp>“I hope people are more sympathetic and understanding about people who don’t live here and need to get out of another country and need a place that’s safe,” says Klein. “I hope people connect to her story and what she went through, the fears and the harsh reality when you need to escape.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>Heather Klein performs ‘Shanghai Angel’ at the Contemporary Jewish Museum in San Francisco at 6:30pm on Thursday, Feb. 23, and 3pm on Sunday, Feb. 26. \u003ca href=\"https://www.thecjm.org/programs/56\" target=\"_blank\" rel=\"noopener\">Tickets ($15–$20) and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The soprano's resonant new musical piece is set during her grandmother's detainment at Angel Island, following a perilous trip from Nazi-occupied Austria to China.","status":"publish","parent":0,"modified":1705031488,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":987},"headData":{"title":"With 'Shanghai Angel,' Heather Klein Tells a Timely Refugee Tale | KQED","description":"The soprano's resonant new musical piece is set during her grandmother's detainment at Angel Island, following a perilous trip from Nazi-occupied Austria to China.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"With 'Shanghai Angel,' Heather Klein Tells a Timely Refugee Tale","datePublished":"2017-02-21T20:00:46.000Z","dateModified":"2024-01-12T03:51:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Emily Savage","path":"/arts/12780947/with-shanghai-angel-heather-klein-tells-a-timely-refugee-tale","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Heather Klein couldn’t have predicted the current political climate when she first began work on her new musical performance piece, \u003cem>Shanghai Angel\u003c/em>. But somehow, it’s being released into the world — it premieres at San Francisco’s Contemporary Jewish Museum on Feb. 23 and 26 — at what some might say is exactly the right moment.\u003c/p>\n\u003cp>\u003cem>Shanghai Angel\u003c/em> tells the story of Klein’s grandmother who fled Nazi-occupied Austria for China, where she boarded a boat to the United States and was summarily detained for nearly two weeks on Angel Island. Her perilous journey contains striking parallels to these perplexing political times of immigration bans and mass confusion.\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>“I started working on this over a year and a half ago. I never could have imagined that I’d be putting this show on at a time that this is a topic, this is a reality,” says Klein from her home in Las Vegas, where she moved from San Francisco a little over a year ago. “It’s mind-boggling, actually.”\u003c/p>\n\u003cp>In the musical, Klein performs songs she composed from the perspective of her grandmother. The 45-minute show, featuring nine original songs and live piano and percussion accompaniment by Joshua Horowitz, will be followed by a short discussion with experts from the Angel Island Immigration Station Foundation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Klein is a classically trained soprano who’s traveled the world both as a soloist and with various ensembles, and who is currently cantorial soloist at Temple Sinai in Las Vegas. In the past, she’s performed a modern Yiddish song cycle for Yom HaShoah — also at the CJM — as well as the role of Lilith in \u003cem>Lilith the Night Demon\u003c/em> by Veretski Pass. She’s also currently working on an opera about Cuba and Jews with Sundance and Music Theater Group. But \u003cem>Shanghai Angel\u003c/em> is her first foray into composing music and writing her own show.\u003c/p>\n\u003cp>The idea for \u003cem>Shanghai Angel\u003c/em> came after Klein’s family found the transcribed story of Rosa Ginsberg — Klein’s paternal grandmother — written by a volunteer at Angel Island’s immigration station.\u003c/p>\n\u003cfigure id=\"attachment_12792365\" class=\"wp-caption aligncenter\" style=\"max-width: 408px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12792365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645.png\" alt=\"Rosa Klein with husband, Herbert, 1945\" width=\"408\" height=\"268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645.png 408w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645-240x158.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Screen-Shot-2017-02-20-at-3.02.48-AM-e1487588639645-375x246.png 375w\" sizes=\"(max-width: 408px) 100vw, 408px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rosa Klein with husband, Herbert, 1945. \u003ccite>(via J Weekly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Klein’s father was doing a basic Google search when he happened upon the detainment story. They’d all known bits and pieces of Rosa’s life in Vienna and Shanghai, but the finding revealed much more, says Klein. Grandma Rosa, since deceased, had rarely talked about her past.\u003c/p>\n\u003cp>They learned how she’d escaped Vienna in December 1938, shortly after Kristallnacht, thanks to Ho Feng-Shan, a man known as the “Chinese Schindler” of Vienna. How she was the sole breadwinner in Shanghai and got a job in a curiosity shop in Tianjin (then known as Tientsin). Lastly, and most integral to \u003cem>Shanghai Angel\u003c/em>, they learned how Rosa, at age 18, had been detained upon her solo arrival in San Francisco. She had $2.50 to her name. Klein based her musical on her own understanding of these events and Rosa’s time at Angel Island, trying to imagine what she must have been going through during her journey.\u003c/p>\n\u003cp>“The show is really about her being trapped at Angel Island during those three weeks and looking back on her journey there from Vienna,” explains Klein. “I can only imagine the dark place she was in, being alone, having left her only family and trying to get to the United States.”\u003c/p>\n\u003cfigure id=\"attachment_12796343\" class=\"wp-caption alignright\" style=\"max-width: 533px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12796343\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/klein.inline.jpg\" alt=\"Heather Klein.\" width=\"533\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/klein.inline-520x780.jpg 520w\" sizes=\"(max-width: 533px) 100vw, 533px\">\u003cfigcaption class=\"wp-caption-text\">Heather Klein. \u003ccite>(Betsy Kershner )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Klein says creating the piece was emotional work, but credits help along the way from family and friends — including her cousin Ben, an actor who helped dramatize the story, and her parents and aunt who provided additional (and sometimes conflicting) stories of her grandmother.\u003c/p>\n\u003cp>Emotions are also bubbling, Klein says, due to the connections to current U.S. policies. “It’s gotten more emotional as I’ve gotten closer to performing it, because of the news and this horrific reality,” she says. “It’s just setting in that it’s happening. It’s almost like ‘Oh my god, it’s happening again.”’\u003c/p>\n\u003cp>“Every time I hear something about people being detained… I’m just so inside this story right now. It’s very scary,” she says.\u003c/p>\n\u003cp>But there’s also a part of her that sees \u003cem>Shanghai Angel\u003c/em> premiering at this time for a reason. “Now I’m even more excited to tell it because I think it needs to be told, people need to hear it,” Klein says. She intentionally created a show that’s easy travel with — just her and her “partner in crime” Horowitz — with the idea of taking it on the road and performing for as many people as possible.\u003c/p>\n\u003cp>She hopes attendees will leave the performance spurred to ask their own family members questions about their past, to learn their stories while they’re still around. But in a broader sense, she says she wants \u003cem>Shanghai Angel\u003c/em> to encourage understanding of all immigrants and refugees.\u003c/p>\n\u003cp>“I hope people are more sympathetic and understanding about people who don’t live here and need to get out of another country and need a place that’s safe,” says Klein. “I hope people connect to her story and what she went through, the fears and the harsh reality when you need to escape.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>Heather Klein performs ‘Shanghai Angel’ at the Contemporary Jewish Museum in San Francisco at 6:30pm on Thursday, Feb. 23, and 3pm on Sunday, Feb. 26. \u003ca href=\"https://www.thecjm.org/programs/56\" target=\"_blank\" rel=\"noopener\">Tickets ($15–$20) and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12780947/with-shanghai-angel-heather-klein-tells-a-timely-refugee-tale","authors":["byline_arts_12780947"],"categories":["arts_69"],"tags":["arts_1642","arts_1620","arts_1118","arts_596"],"featImg":"arts_12780948","label":"arts"},"arts_12777807":{"type":"posts","id":"arts_12777807","meta":{"index":"posts_1591205157","site":"arts","id":"12777807","score":null,"sort":[1487520008000]},"guestAuthors":[],"slug":"for-mexico-city-musicians-theres-no-hiding-from-el-futuro","title":"For Mexico City Musicians, There's No Hiding From 'El Futuro'","publishDate":1487520008,"format":"standard","headTitle":"For Mexico City Musicians, There’s No Hiding From ‘El Futuro’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It’s Halloween weekend in Mexico City, and my friend Mauricio Mendia is preparing for his DJ set at the American Legion. The theme for the night is disco.\u003c/p>\n\u003cp>As Mauricio sets up for the evening, he introduces me to a tall, skinny \u003cem>gringo\u003c/em> my age, with a terrible blonde wig, an offensive red tie, and a suit that looks straight from the Donald Trump Collection. With fake blood dripping down his forehead, he’s dressed up as an assassinated Donald Trump, just days before the election. We clink beers, and between the BeeGees and Donna Summer tracks, get to talking about our favorite punk bands.\u003c/p>\n\u003cp>The Trump impersonator turns out to be Brandon Welchez, lead singer of the New Wave-influenced noise pop group the Crocodiles. Welchez grew up in San Diego on a steady diet of punk, hanging with friends like Rafael Reyes from the cholo goth band Prayers. On one of his band’s first tours, Welchez toured with the drummer Palmolive, from early British punk group the Slits, and described her as his much cooler, musical fairy godmother.\u003c/p>\n\u003cfigure id=\"attachment_12780946\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/unspecified-1.jpg\" alt=\"Charles Rowell and Brandon Welchez of the band Crocodiles.\" width=\"1280\" height=\"854\" class=\"size-full wp-image-12780946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-520x347.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Charles Rowell and Brandon Welchez of the band Crocodiles. \u003ccite>(Bon Duke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moments later, Welchez and I walk towards the bar, where I watch AJ Dávila of the infamous Puerto Rican punk band Dávila 666 wrap Welchez up in what can only be described as a cub hug — he’s way too short to be described as a bear. He greets Welchez with a booming “BABY-SITO,” his term of endearment of choice, and kisses him on the cheek.\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>[ad fullwidth]\u003c/p>\n\u003cp>In a few months, the pair will be leaving Mexico City together to start a world tour, kicking off in the States. One of their first stops is San Francisco, where on Thursday, Feb. 23, they’ll play Bottom of the Hill — a perfect place for two recovering punks to bring their brand of partying-mixed-with-politics, and to represent Mexico City well.\u003c/p>\n\u003cp>But these plans were made, of course, before the election — before any of us could have predicted how the election would affect their their tour, or our country. For that moment at the American Legion, Welchez and Dávila stand next to each other, cracking jokes as Mauricio plays Michael Jackson’s “Don’t Stop Till You Get Enough,” and everyone takes it as their cue to hit the dance floor.\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>The next day, on my way to the record label \u003ca href=\"http://www.discospanoram.com/\" target=\"_blank\" rel=\"noopener\">Discos Panoram\u003c/a> to discuss \u003cem>El Futuro\u003c/em>, Dávila’s upcoming record, I give the LP a full spin: due out in April, it’s an optimistic shoegaze album that fuses ’60s call-and-response vocals, psychedelic horns and distortion, and Fugazi-style guitar riffs with lyrics about heartbreak and an uncertain future. It’s also Dávila’s first solo album, created after he spent nearly a decade in the shock-punk band Dávila 666, then moved onto the post-grunge group AJ Dávila y Terror Amor.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Js1P-jKHZpI\u003c/p>\n\u003cp>On his own, Dávila has refashioned himself; on \u003cem>El Futuro\u003c/em> he is less scrappy punk kid and more Puerto Rican sweetheart with rock ‘n’ roll charm.\u003c/p>\n\u003cp>The office of Discos Panoram feels like the set of a Luis Buñuel surrealist film. There’s a wall made up entirely of opened books, another of solid doors, and then spiral staircases that lead to a rooftop. In the open air, AJ swings his arms open and hugs me like he did Brandon the day before, belting out “BABY-SITA,” and I can’t help but laugh.\u003c/p>\n\u003cp>Flipping through the album’s liner notes, I ask him about one of my favorite songs, “SS Youth.” I can’t tell if I’ve missed something in the Spanish translation — if SS means something far less ominous in Mexico? — or if the grunge-inspired track is actually just dedicated to Sonic Youth. He seig-heils and tells me, “No, it’s about Donald Trump … and what it means to live in a society of likes.”\u003c/p>\n\u003cp>The words of Junot Díaz spring immediately to mind — particularly his writing on the rise of fascism, and his lived experience through Latin American dictatorships. “The axis of likability is how dictatorships survive,” he once said in \u003ca href=\"http://lithub.com/junot-diaz-hilton-als-talk-masculinity-science-fiction-and-writing-as-an-act-of-defiance/\" target=\"_blank\" rel=\"noopener\">an interview with Hilton Als\u003c/a>. “Becoming popular is part of what dictatorships hijack to remain in power.”\u003c/p>\n\u003cfigure id=\"attachment_12780950\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/unspecified-3.jpg\" alt=\"AJ Dávila.\" width=\"1280\" height=\"854\" class=\"size-full wp-image-12780950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-520x347.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">AJ Dávila. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, Dávila doesn’t tiptoe around his intentions with writing “SS Youth.” ”\u003c/p>\n\u003cp>“It’s an allusion to the Nazi youth, and how they did everything that the system told them to do,” he says. “Propaganda controlled everything that they did. And now, we think we’re living in a time of freedom, filled with capitalism and and liberty and justice for all, but no, it’s the same. The youth — instead of inheriting their parents’ values — their new parents are the television and the propaganda that’s all around them. What they see on television or what they hear from a politician, they believe it, and they act accordingly.”\u003c/p>\n\u003cp>In a society of likes, he seems to be saying, it’s entirely predictable that a reality star could become president. Though Dávila is from Puerto Rico, he’s lived in Chicago and toured the U.S. extensively. The states are his second home, when he’s away from Mexico City, where he currently lives. Even as an ex-pat, he says he can see the creeping wave of fascism in the United States.\u003c/p>\n\u003cp>Our conversation seems like an omen of the times to come. \u003cem>El Futuro.\u003c/em>\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>Welchez and Dávila met in Mexico City in 2014, at a time when both of them were newly out of serious relationships and were moving away from their past lives. The two became roommates and “surrogate girlfriends” to each other, both looking for closeness in a city they loved but was not their own.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d3crkYDza5w\u003c/p>\n\u003cp>The friends began collaborating musically: you can hear Welchez’s guitar and vocals on Dávila’s album, \u003cem>El Futuro\u003c/em>, as well as records that Dávila has produced, including Dani Bander’s post-mariachi record, \u003cem>Malacopa\u003c/em>. Touring together came naturally, and they planned a four-week U.S. sweep through 21 cities; an upcoming South American and European Tour is still in the works.\u003c/p>\n\u003cp>But they couldn’t have anticipated how President Trump’s travel ban would impact those plans.\u003c/p>\n\u003cfigure id=\"attachment_12786115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/unnamed-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12786115\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/unnamed-4-800x532.jpg\" alt=\"AJ Davila and Rafael Reyes\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rafael Reyes, from the band Prayers, with AJ Dávila. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the last few days, everything has kind of shifted, unfortunately,” Welchez tells me by phone, following news of the ban. It’s only been three months since we last saw each other in Mexico City, but with the nonstop news cycle, it feels like three lifetimes.\u003c/p>\n\u003cp>“We had a band of Mexican musicians and one Venezuelan, and we tried to get work visas but it was super, super expensive, so we thought about having them play here ‘illegally,’” he says of the tour. “But once Trump put that travel ban — that Muslim ban — in effect, we started thinking of how it would affect people in Latin America who had visas, travel visas, and we just got scared. Is it really fair to ask these people to risk their ability to come back [to the U.S.]?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7nqaCqMmaSQ\u003c/p>\n\u003cp>So the Crocodiles and AJ Dávila were left scrambling to find a new band comprised of entirely U.S. citizens, less than a week before their tour started. According to Dávila’s publicist, the average cost to get a touring visa for bands from Latin America is $6,000. Considering that the Mexican peso is currently valued at 21 pesos to the American dollar, and that the average yearly salary in Mexico City is $11,000 USD, securing a touring visa to the United States is a huge barrier for many bands from Latin America.\u003c/p>\n\u003cp>Between barriers to travel, recent immigration crackdowns, renewed ICE raids and the wall controversy, the next four years are sure to be tumultuous for U.S.-Mexico relations. What does it feel like, I ask Welchez, to be living as an American in Mexico City right now?\u003c/p>\n\u003cp>“Fear, frustration, embarrassment,” he says. “And in a way [I feel] pride, seeing how people are coming together and backing each other up. Non-marginalized people are backing up marginalized people, and that’s really nice to see. In general there’s a lot of fear of what’s going to become of the United States and what’s going to become of the world — so I feel frustrated and at the same time hopeful that this is the last big hoorah for scumbags, you know? Like when you go to a fireworks display: This is their grand finale.”\u003c/p>\n\u003cp>Welchez clearly has both a critical mind and a sense of humor — arguably two fundamentally necessary tools for remaining sane in the present moment.\u003c/p>\n\u003cp>“We’ve been joking,” says Welchez, “about the ‘party’ we call our lives — we are going to bring that party on the road and invite everyone to join us.”\u003c/p>\n\u003cp>And who wouldn’t want to join the party? \u003cem>El Futuro\u003c/em> has arrived.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Crocodiles and AJ Davila play with locals Hot Flash Heat Wave and NRVS LVRS on Thursday, Feb. 23, at Bottom of the Hill in San Francisco. \u003ca href=\"http://www.bottomofthehill.com/20170223.html#.WKZ6CmQrK2w\" target=\"_blank\" rel=\"noopener\">Tickets ($15) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Nearly thwarted by Trump's travel ban, Puerto Rican-born AJ Dávila talks about bringing his politically charged U.S. tour to San Francisco this week.","status":"publish","parent":0,"modified":1705031501,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":1713},"headData":{"title":"For Mexico City Musicians, There's No Hiding From 'El Futuro' | KQED","description":"Nearly thwarted by Trump's travel ban, Puerto Rican-born AJ Dávila talks about bringing his politically charged U.S. tour to San Francisco this week.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"For Mexico City Musicians, There's No Hiding From 'El Futuro'","datePublished":"2017-02-19T16:00:08.000Z","dateModified":"2024-01-12T03:51:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Michelle Threadgould","path":"/arts/12777807/for-mexico-city-musicians-theres-no-hiding-from-el-futuro","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s Halloween weekend in Mexico City, and my friend Mauricio Mendia is preparing for his DJ set at the American Legion. The theme for the night is disco.\u003c/p>\n\u003cp>As Mauricio sets up for the evening, he introduces me to a tall, skinny \u003cem>gringo\u003c/em> my age, with a terrible blonde wig, an offensive red tie, and a suit that looks straight from the Donald Trump Collection. With fake blood dripping down his forehead, he’s dressed up as an assassinated Donald Trump, just days before the election. We clink beers, and between the BeeGees and Donna Summer tracks, get to talking about our favorite punk bands.\u003c/p>\n\u003cp>The Trump impersonator turns out to be Brandon Welchez, lead singer of the New Wave-influenced noise pop group the Crocodiles. Welchez grew up in San Diego on a steady diet of punk, hanging with friends like Rafael Reyes from the cholo goth band Prayers. On one of his band’s first tours, Welchez toured with the drummer Palmolive, from early British punk group the Slits, and described her as his much cooler, musical fairy godmother.\u003c/p>\n\u003cfigure id=\"attachment_12780946\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/unspecified-1.jpg\" alt=\"Charles Rowell and Brandon Welchez of the band Crocodiles.\" width=\"1280\" height=\"854\" class=\"size-full wp-image-12780946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-1-520x347.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Charles Rowell and Brandon Welchez of the band Crocodiles. \u003ccite>(Bon Duke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moments later, Welchez and I walk towards the bar, where I watch AJ Dávila of the infamous Puerto Rican punk band Dávila 666 wrap Welchez up in what can only be described as a cub hug — he’s way too short to be described as a bear. He greets Welchez with a booming “BABY-SITO,” his term of endearment of choice, and kisses him on the cheek.\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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a few months, the pair will be leaving Mexico City together to start a world tour, kicking off in the States. One of their first stops is San Francisco, where on Thursday, Feb. 23, they’ll play Bottom of the Hill — a perfect place for two recovering punks to bring their brand of partying-mixed-with-politics, and to represent Mexico City well.\u003c/p>\n\u003cp>But these plans were made, of course, before the election — before any of us could have predicted how the election would affect their their tour, or our country. For that moment at the American Legion, Welchez and Dávila stand next to each other, cracking jokes as Mauricio plays Michael Jackson’s “Don’t Stop Till You Get Enough,” and everyone takes it as their cue to hit the dance floor.\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>The next day, on my way to the record label \u003ca href=\"http://www.discospanoram.com/\" target=\"_blank\" rel=\"noopener\">Discos Panoram\u003c/a> to discuss \u003cem>El Futuro\u003c/em>, Dávila’s upcoming record, I give the LP a full spin: due out in April, it’s an optimistic shoegaze album that fuses ’60s call-and-response vocals, psychedelic horns and distortion, and Fugazi-style guitar riffs with lyrics about heartbreak and an uncertain future. It’s also Dávila’s first solo album, created after he spent nearly a decade in the shock-punk band Dávila 666, then moved onto the post-grunge group AJ Dávila y Terror Amor.\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/Js1P-jKHZpI'\n title='//www.youtube.com/embed/Js1P-jKHZpI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On his own, Dávila has refashioned himself; on \u003cem>El Futuro\u003c/em> he is less scrappy punk kid and more Puerto Rican sweetheart with rock ‘n’ roll charm.\u003c/p>\n\u003cp>The office of Discos Panoram feels like the set of a Luis Buñuel surrealist film. There’s a wall made up entirely of opened books, another of solid doors, and then spiral staircases that lead to a rooftop. In the open air, AJ swings his arms open and hugs me like he did Brandon the day before, belting out “BABY-SITA,” and I can’t help but laugh.\u003c/p>\n\u003cp>Flipping through the album’s liner notes, I ask him about one of my favorite songs, “SS Youth.” I can’t tell if I’ve missed something in the Spanish translation — if SS means something far less ominous in Mexico? — or if the grunge-inspired track is actually just dedicated to Sonic Youth. He seig-heils and tells me, “No, it’s about Donald Trump … and what it means to live in a society of likes.”\u003c/p>\n\u003cp>The words of Junot Díaz spring immediately to mind — particularly his writing on the rise of fascism, and his lived experience through Latin American dictatorships. “The axis of likability is how dictatorships survive,” he once said in \u003ca href=\"http://lithub.com/junot-diaz-hilton-als-talk-masculinity-science-fiction-and-writing-as-an-act-of-defiance/\" target=\"_blank\" rel=\"noopener\">an interview with Hilton Als\u003c/a>. “Becoming popular is part of what dictatorships hijack to remain in power.”\u003c/p>\n\u003cfigure id=\"attachment_12780950\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/unspecified-3.jpg\" alt=\"AJ Dávila.\" width=\"1280\" height=\"854\" class=\"size-full wp-image-12780950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unspecified-3-520x347.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">AJ Dávila. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Similarly, Dávila doesn’t tiptoe around his intentions with writing “SS Youth.” ”\u003c/p>\n\u003cp>“It’s an allusion to the Nazi youth, and how they did everything that the system told them to do,” he says. “Propaganda controlled everything that they did. And now, we think we’re living in a time of freedom, filled with capitalism and and liberty and justice for all, but no, it’s the same. The youth — instead of inheriting their parents’ values — their new parents are the television and the propaganda that’s all around them. What they see on television or what they hear from a politician, they believe it, and they act accordingly.”\u003c/p>\n\u003cp>In a society of likes, he seems to be saying, it’s entirely predictable that a reality star could become president. Though Dávila is from Puerto Rico, he’s lived in Chicago and toured the U.S. extensively. The states are his second home, when he’s away from Mexico City, where he currently lives. Even as an ex-pat, he says he can see the creeping wave of fascism in the United States.\u003c/p>\n\u003cp>Our conversation seems like an omen of the times to come. \u003cem>El Futuro.\u003c/em>\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>Welchez and Dávila met in Mexico City in 2014, at a time when both of them were newly out of serious relationships and were moving away from their past lives. The two became roommates and “surrogate girlfriends” to each other, both looking for closeness in a city they loved but was not their own.\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/d3crkYDza5w'\n title='//www.youtube.com/embed/d3crkYDza5w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The friends began collaborating musically: you can hear Welchez’s guitar and vocals on Dávila’s album, \u003cem>El Futuro\u003c/em>, as well as records that Dávila has produced, including Dani Bander’s post-mariachi record, \u003cem>Malacopa\u003c/em>. Touring together came naturally, and they planned a four-week U.S. sweep through 21 cities; an upcoming South American and European Tour is still in the works.\u003c/p>\n\u003cp>But they couldn’t have anticipated how President Trump’s travel ban would impact those plans.\u003c/p>\n\u003cfigure id=\"attachment_12786115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/unnamed-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12786115\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/unnamed-4-800x532.jpg\" alt=\"AJ Davila and Rafael Reyes\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/unnamed-4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rafael Reyes, from the band Prayers, with AJ Dávila. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the last few days, everything has kind of shifted, unfortunately,” Welchez tells me by phone, following news of the ban. It’s only been three months since we last saw each other in Mexico City, but with the nonstop news cycle, it feels like three lifetimes.\u003c/p>\n\u003cp>“We had a band of Mexican musicians and one Venezuelan, and we tried to get work visas but it was super, super expensive, so we thought about having them play here ‘illegally,’” he says of the tour. “But once Trump put that travel ban — that Muslim ban — in effect, we started thinking of how it would affect people in Latin America who had visas, travel visas, and we just got scared. Is it really fair to ask these people to risk their ability to come back [to the U.S.]?”\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/7nqaCqMmaSQ'\n title='//www.youtube.com/embed/7nqaCqMmaSQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So the Crocodiles and AJ Dávila were left scrambling to find a new band comprised of entirely U.S. citizens, less than a week before their tour started. According to Dávila’s publicist, the average cost to get a touring visa for bands from Latin America is $6,000. Considering that the Mexican peso is currently valued at 21 pesos to the American dollar, and that the average yearly salary in Mexico City is $11,000 USD, securing a touring visa to the United States is a huge barrier for many bands from Latin America.\u003c/p>\n\u003cp>Between barriers to travel, recent immigration crackdowns, renewed ICE raids and the wall controversy, the next four years are sure to be tumultuous for U.S.-Mexico relations. What does it feel like, I ask Welchez, to be living as an American in Mexico City right now?\u003c/p>\n\u003cp>“Fear, frustration, embarrassment,” he says. “And in a way [I feel] pride, seeing how people are coming together and backing each other up. Non-marginalized people are backing up marginalized people, and that’s really nice to see. In general there’s a lot of fear of what’s going to become of the United States and what’s going to become of the world — so I feel frustrated and at the same time hopeful that this is the last big hoorah for scumbags, you know? Like when you go to a fireworks display: This is their grand finale.”\u003c/p>\n\u003cp>Welchez clearly has both a critical mind and a sense of humor — arguably two fundamentally necessary tools for remaining sane in the present moment.\u003c/p>\n\u003cp>“We’ve been joking,” says Welchez, “about the ‘party’ we call our lives — we are going to bring that party on the road and invite everyone to join us.”\u003c/p>\n\u003cp>And who wouldn’t want to join the party? \u003cem>El Futuro\u003c/em> has arrived.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Crocodiles and AJ Davila play with locals Hot Flash Heat Wave and NRVS LVRS on Thursday, Feb. 23, at Bottom of the Hill in San Francisco. \u003ca href=\"http://www.bottomofthehill.com/20170223.html#.WKZ6CmQrK2w\" target=\"_blank\" rel=\"noopener\">Tickets ($15) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12777807/for-mexico-city-musicians-theres-no-hiding-from-el-futuro","authors":["byline_arts_12777807"],"categories":["arts_69"],"tags":["arts_1642","arts_1620","arts_1119","arts_1118","arts_596"],"featImg":"arts_12777808","label":"arts"},"arts_12744703":{"type":"posts","id":"arts_12744703","meta":{"index":"posts_1591205157","site":"arts","id":"12744703","score":null,"sort":[1486755908000]},"guestAuthors":[],"slug":"dooms-virginia-tackles-the-trump-era-liars-on-devour","title":"Dooms Virginia Tackles Trump-Era 'Alternative Facts' on 'Devour'","publishDate":1486755908,"format":"audio","headTitle":"Dooms Virginia Tackles Trump-Era ‘Alternative Facts’ on ‘Devour’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked Bay Area musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. Over the next couple months, I’ll be highlighting the most compelling entries I receive, along with a few words from the artist about their inspirations and intentions.\u003c/em>\u003c/p>\n\u003ch3>Dooms Virginia, “Devour”\u003c/h3>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/293346674″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“I wasn’t surprised,” wrote Annie Lipetz, the singer of \u003ca href=\"https://www.facebook.com/DoomsVirginia/\" target=\"_blank\" rel=\"noopener\">Dooms Virginia\u003c/a> (formerly known as Annie Girl & the Flight), when I asked if she was caught off guard by the presidential election’s results — and how she coped. “I spent the night wasted, calling friends in other countries and asking them to marry me.”\u003c/p>\n\u003cp>She’s not one to wallow, though. At 23, Lipetz is one of the most captivating singers I’ve seen in the Bay Area indie scene; her visceral delivery, even at its great, growly weirdest, always has something natural and old-school rockstar about it. So it’s not surprising that she quickly channeled her anger into music. “Devour,” above, paints a somewhat desolate lyrical picture of our current landscape:\u003c/p>\n\u003cblockquote>\u003cp>Tied to the current in a river of madmen\u003cbr>\nWhere the dead are looking for a place to rest\u003cbr>\nJust because it’s on the news doesn’t make it true\u003cbr>\nWhen ya gonna see that they’re lying too?\u003c/p>\u003c/blockquote>\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>[ad fullwidth]\u003c/p>\n\u003cp>“It’s an artist’s responsibility to create — to make people feel. It doesn’t have to be directly related to politics. Any honest creation is crucial,” she says.\u003c/p>\n\u003cp>“We all have an important role to play in the revolution, and the revolution is now. This system never worked. When you put monsters in charge of a defective government, the outcome is a corrupt, disruptive and hateful regime. Dictatorship, fascism. A new system is needed. To get it we must revolt. We must participate with our most authentic selves. March, speak up, contact government officials, pick up a history book, adorn yourself with knowledge, create, trust your gut, love as much as you can, and do not back down.”\u003c/p>\n\u003cp>Lipetz recently moved from San Francisco to Los Angeles (sigh) but will be back up here soon enough; Dooms Virginia plays \u003ca href=\"http://www.uptownnightclub.com/\" target=\"_blank\" rel=\"noopener\">The Uptown’\u003c/a>s First Friday show in Oakland on April 7.\u003c/p>\n\u003cp>\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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\n","blocks":[],"excerpt":"'Just because it's on the news doesn't make it true / When ya gonna see that they're lying too?' sings the band's 23-year-old vocalist, Annie Lipetz.","status":"publish","parent":0,"modified":1705031608,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":493},"headData":{"title":"Dooms Virginia Tackles Trump-Era 'Alternative Facts' on 'Devour' | KQED","description":"'Just because it's on the news doesn't make it true / When ya gonna see that they're lying too?' sings the band's 23-year-old vocalist, Annie Lipetz.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dooms Virginia Tackles Trump-Era 'Alternative Facts' on 'Devour'","datePublished":"2017-02-10T19:45:08.000Z","dateModified":"2024-01-12T03:53:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestFields":"0","sticky":false,"path":"/arts/12744703/dooms-virginia-tackles-the-trump-era-liars-on-devour","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked Bay Area musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. Over the next couple months, I’ll be highlighting the most compelling entries I receive, along with a few words from the artist about their inspirations and intentions.\u003c/em>\u003c/p>\n\u003ch3>Dooms Virginia, “Devour”\u003c/h3>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/293346674″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/293346674″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I wasn’t surprised,” wrote Annie Lipetz, the singer of \u003ca href=\"https://www.facebook.com/DoomsVirginia/\" target=\"_blank\" rel=\"noopener\">Dooms Virginia\u003c/a> (formerly known as Annie Girl & the Flight), when I asked if she was caught off guard by the presidential election’s results — and how she coped. “I spent the night wasted, calling friends in other countries and asking them to marry me.”\u003c/p>\n\u003cp>She’s not one to wallow, though. At 23, Lipetz is one of the most captivating singers I’ve seen in the Bay Area indie scene; her visceral delivery, even at its great, growly weirdest, always has something natural and old-school rockstar about it. So it’s not surprising that she quickly channeled her anger into music. “Devour,” above, paints a somewhat desolate lyrical picture of our current landscape:\u003c/p>\n\u003cblockquote>\u003cp>Tied to the current in a river of madmen\u003cbr>\nWhere the dead are looking for a place to rest\u003cbr>\nJust because it’s on the news doesn’t make it true\u003cbr>\nWhen ya gonna see that they’re lying too?\u003c/p>\u003c/blockquote>\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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s an artist’s responsibility to create — to make people feel. It doesn’t have to be directly related to politics. Any honest creation is crucial,” she says.\u003c/p>\n\u003cp>“We all have an important role to play in the revolution, and the revolution is now. This system never worked. When you put monsters in charge of a defective government, the outcome is a corrupt, disruptive and hateful regime. Dictatorship, fascism. A new system is needed. To get it we must revolt. We must participate with our most authentic selves. March, speak up, contact government officials, pick up a history book, adorn yourself with knowledge, create, trust your gut, love as much as you can, and do not back down.”\u003c/p>\n\u003cp>Lipetz recently moved from San Francisco to Los Angeles (sigh) but will be back up here soon enough; Dooms Virginia plays \u003ca href=\"http://www.uptownnightclub.com/\" target=\"_blank\" rel=\"noopener\">The Uptown’\u003c/a>s First Friday show in Oakland on April 7.\u003c/p>\n\u003cp>\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_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12744703/dooms-virginia-tackles-the-trump-era-liars-on-devour","authors":["7237"],"categories":["arts_69"],"tags":["arts_1642","arts_1620","arts_596"],"featImg":"arts_12745507","label":"arts"},"arts_12731277":{"type":"posts","id":"arts_12731277","meta":{"index":"posts_1591205157","site":"arts","id":"12731277","score":null,"sort":[1486422334000]},"guestAuthors":[],"slug":"even-with-travel-ban-blocked-artists-are-still-left-hanging","title":"Even With Travel Ban Blocked, Artists Are Still Left Hanging","publishDate":1486422334,"format":"standard","headTitle":"Even With Travel Ban Blocked, Artists Are Still Left Hanging | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>President Trump’s \u003ca href=\"http://www.npr.org/2017/01/31/512439121/trumps-executive-order-on-immigration-annotated\" target=\"_blank\" rel=\"noopener\">executive order on immigration\u003c/a> restricting travel to the U.S. for travelers from seven Muslim-majority countries led to a firestorm of criticism, lawsuits and injunctions by five federal judges staying the order. But questions remain about who can and can’t come to this country. Among those caught in the confusion are a number of prominent musicians, whose personal lives — and livelihoods — have been put on hold.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/106059336/omar-souleyman\" target=\"_blank\" rel=\"noopener\">Omar Souleyman\u003c/a> is a Syrian singer who in recent years has collaborated with \u003ca href=\"http://www.npr.org/artists/15191158/bjork\" target=\"_blank\" rel=\"noopener\">Björk\u003c/a> and performed at the Nobel Peace Prize concert. Five years ago, he moved to the southeast of Turkey to avoid the war at home in Syria.\u003c/p>\n\u003cp>Souleyman has a new album on the way, and he was planning a U.S. tour to promote it. He’s toured the U.S. 16 times before. This time around, says his manager, Mina Tosti, they were planning tour dates in New York, Detroit, Los Angeles and Arizona, and were in the thick of planning an appearance at the SXSW festival in March as well.\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>The visa paperwork for this trip was already well underway when the executive order was announced. When Tosti visited the homepage of the U.S. Embassy in Ankara last week, she saw this notice: “‘If you already have an appointment scheduled,'” she reads aloud, “‘please DO NOT ATTEND.’ Capital letters.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says there’s an unspoken message behind those words: “You are not welcome. Do not come near us.”\u003c/p>\n\u003cp>Now that the order is in limbo, Tosti is not sure what to do. Neither is immigration lawyer Matthew Covey, who heads a U.S. nonprofit called \u003ca href=\"http://www.tamizdat.org/\" target=\"_blank\" rel=\"noopener\">Tamizdat\u003c/a> that advocates for foreign artists and helps facilitate their visa applications.\u003c/p>\n\u003cp>“For the arts, it’s really not a resolution at all,” Covey asserts. “Because at least for performing arts programmers, the temporary restraining order is just that. We don’t know when or if it will disappear, and we’ll go back to the ban. So if you’re running a performing arts organization here in the U.S., and you’re trying to figure out who to book for June, July, even for March — there are very few presenters who are going to risk contracting with an artist from one of the seven countries now for any point in the foreseeable future.”\u003c/p>\n\u003cp>Among those left hanging are some of the world’s top musicians. \u003ca href=\"http://www.npr.org/artists/149093388/kayhan-kalhor\" target=\"_blank\" rel=\"noopener\">Kayhan Kalhor\u003c/a> is a virtuoso of the Persian kamancheh, a bowed stringed instrument. Kalhor is a four-time Grammy Award nominee and a longtime collaborator of cellist \u003ca href=\"http://www.npr.org/artists/15995808/yo-yo-ma\" target=\"_blank\" rel=\"noopener\">Yo-Yo Ma\u003c/a>.\u003c/p>\n\u003cp>Kalhor was born and raised in Iran, but he is a Canadian citizen — and he lives in California. Right now, he’s on tour in Iran. Isabel Soffer was hoping to help him tour the U.S. in May. She’s an American who produces concerts and festivals across the country and works extensively with artists from the Middle East.\u003c/p>\n\u003cp>“So many of these incredible artists from all over the world are doing this dance,” Soffer observes, “because so many of them have complex lives based around mobility. Where do they belong? Where do they live? What passports do they have? How do they function?”\u003c/p>\n\u003cp>\u003ca href=\"http://mahdyar.com/\" target=\"_blank\" rel=\"noopener\">Mahdyar Aghajani\u003c/a> is an Iranian producer and composer best-known in this country for his score for the film \u003ca href=\"https://www.youtube.com/watch?v=5gLq3E4pRuU\" target=\"_blank\" rel=\"noopener\">“No One Knows About Persian Cats”\u003c/a> – a “\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=125993739\" target=\"_blank\" rel=\"noopener\">near-documentary\u003c/a>” about Iran’s banned underground music scene.\u003c/p>\n\u003cp>“Until two years ago,” Aghajani says, “we were considered satanists.”\u003c/p>\n\u003cp>He’s now based in Paris. Speaking via Skype, he says he still manages a hip-hop collective called \u003ca href=\"http://moltafet.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Moltafet\u003c/a> back home. “They cannot work in Iran,” he says, “because the government is against them, so they’re illegal. They cannot officially monetize their music.”\u003c/p>\n\u003cp>So Aghajani was hoping to bring Moltafet to the U.S., to reach both the Iranian diaspora here and mainstream hip-hop fans. “And we had so many states [as] part of the tour,” Aghajani says, “and now this thing has put everything on hold, basically, because half our plan is now nothing.”\u003c/p>\n\u003cp>Aghajani says that as an Iranian artist, he’s already had to figure out how to knock down official hurdles. And he thinks that what he and his friends have gone through can be a model for others.\u003c/p>\n\u003cp>“The borders, they cannot stop us,” Aghajani says. “Right now, with all this technology, we don’t have to physically be there to do a show. I mean, you’ve got projection to hologram to augmented reality, virtual reality, all these streaming services. There’s so many technologies right now that we have access to, that I think the artists should be creative, like they shouldn’t be scared or hopeless or anything like that. Imagine if I had this mentality — we had Ahmadinejad. I know Trump is very bad and everything, but Ahmadinejad was way crazier, I think!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For now, attorney Matthew Covey of the organization Tamizdat is offering to prepare and file visa applications, pro bono, for artists from any of the seven countries named in the executive order, no matter what happens.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Even+With+Travel+Ban+Blocked%2C+Artists+Are+Still+Left+Hanging&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Musicians form an important cultural conduit between the U.S. and the seven countries included in the ban. Despite judicial stays upheld on appeal, artists still can't hit the road.","status":"publish","parent":0,"modified":1705031650,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":929},"headData":{"title":"Even With Travel Ban Blocked, Artists Are Still Left Hanging | KQED","description":"Musicians form an important cultural conduit between the U.S. and the seven countries included in the ban. Despite judicial stays upheld on appeal, artists still can't hit the road.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Even With Travel Ban Blocked, Artists Are Still Left Hanging","datePublished":"2017-02-06T23:05:34.000Z","dateModified":"2024-01-12T03:54:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Pacific Press","nprByline":"Anastasia Tsioulcas","nprImageAgency":"LightRocket via Getty Images","nprStoryId":"513255643","nprApiLink":"http://api.npr.org/query?id=513255643&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"http://www.npr.org/sections/therecord/2017/02/06/513255643/even-with-travel-ban-blocked-artists-are-still-left-hanging?ft=nprml&f=513255643","nprRetrievedStory":"1","nprPubDate":"Mon, 06 Feb 2017 16:33:00 -0500","nprStoryDate":"Mon, 06 Feb 2017 16:30:26 -0500","nprLastModifiedDate":"Mon, 06 Feb 2017 16:30:26 -0500","path":"/arts/12731277/even-with-travel-ban-blocked-artists-are-still-left-hanging","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>President Trump’s \u003ca href=\"http://www.npr.org/2017/01/31/512439121/trumps-executive-order-on-immigration-annotated\" target=\"_blank\" rel=\"noopener\">executive order on immigration\u003c/a> restricting travel to the U.S. for travelers from seven Muslim-majority countries led to a firestorm of criticism, lawsuits and injunctions by five federal judges staying the order. But questions remain about who can and can’t come to this country. Among those caught in the confusion are a number of prominent musicians, whose personal lives — and livelihoods — have been put on hold.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/106059336/omar-souleyman\" target=\"_blank\" rel=\"noopener\">Omar Souleyman\u003c/a> is a Syrian singer who in recent years has collaborated with \u003ca href=\"http://www.npr.org/artists/15191158/bjork\" target=\"_blank\" rel=\"noopener\">Björk\u003c/a> and performed at the Nobel Peace Prize concert. Five years ago, he moved to the southeast of Turkey to avoid the war at home in Syria.\u003c/p>\n\u003cp>Souleyman has a new album on the way, and he was planning a U.S. tour to promote it. He’s toured the U.S. 16 times before. This time around, says his manager, Mina Tosti, they were planning tour dates in New York, Detroit, Los Angeles and Arizona, and were in the thick of planning an appearance at the SXSW festival in March as well.\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>The visa paperwork for this trip was already well underway when the executive order was announced. When Tosti visited the homepage of the U.S. Embassy in Ankara last week, she saw this notice: “‘If you already have an appointment scheduled,'” she reads aloud, “‘please DO NOT ATTEND.’ Capital letters.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She says there’s an unspoken message behind those words: “You are not welcome. Do not come near us.”\u003c/p>\n\u003cp>Now that the order is in limbo, Tosti is not sure what to do. Neither is immigration lawyer Matthew Covey, who heads a U.S. nonprofit called \u003ca href=\"http://www.tamizdat.org/\" target=\"_blank\" rel=\"noopener\">Tamizdat\u003c/a> that advocates for foreign artists and helps facilitate their visa applications.\u003c/p>\n\u003cp>“For the arts, it’s really not a resolution at all,” Covey asserts. “Because at least for performing arts programmers, the temporary restraining order is just that. We don’t know when or if it will disappear, and we’ll go back to the ban. So if you’re running a performing arts organization here in the U.S., and you’re trying to figure out who to book for June, July, even for March — there are very few presenters who are going to risk contracting with an artist from one of the seven countries now for any point in the foreseeable future.”\u003c/p>\n\u003cp>Among those left hanging are some of the world’s top musicians. \u003ca href=\"http://www.npr.org/artists/149093388/kayhan-kalhor\" target=\"_blank\" rel=\"noopener\">Kayhan Kalhor\u003c/a> is a virtuoso of the Persian kamancheh, a bowed stringed instrument. Kalhor is a four-time Grammy Award nominee and a longtime collaborator of cellist \u003ca href=\"http://www.npr.org/artists/15995808/yo-yo-ma\" target=\"_blank\" rel=\"noopener\">Yo-Yo Ma\u003c/a>.\u003c/p>\n\u003cp>Kalhor was born and raised in Iran, but he is a Canadian citizen — and he lives in California. Right now, he’s on tour in Iran. Isabel Soffer was hoping to help him tour the U.S. in May. She’s an American who produces concerts and festivals across the country and works extensively with artists from the Middle East.\u003c/p>\n\u003cp>“So many of these incredible artists from all over the world are doing this dance,” Soffer observes, “because so many of them have complex lives based around mobility. Where do they belong? Where do they live? What passports do they have? How do they function?”\u003c/p>\n\u003cp>\u003ca href=\"http://mahdyar.com/\" target=\"_blank\" rel=\"noopener\">Mahdyar Aghajani\u003c/a> is an Iranian producer and composer best-known in this country for his score for the film \u003ca href=\"https://www.youtube.com/watch?v=5gLq3E4pRuU\" target=\"_blank\" rel=\"noopener\">“No One Knows About Persian Cats”\u003c/a> – a “\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=125993739\" target=\"_blank\" rel=\"noopener\">near-documentary\u003c/a>” about Iran’s banned underground music scene.\u003c/p>\n\u003cp>“Until two years ago,” Aghajani says, “we were considered satanists.”\u003c/p>\n\u003cp>He’s now based in Paris. Speaking via Skype, he says he still manages a hip-hop collective called \u003ca href=\"http://moltafet.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Moltafet\u003c/a> back home. “They cannot work in Iran,” he says, “because the government is against them, so they’re illegal. They cannot officially monetize their music.”\u003c/p>\n\u003cp>So Aghajani was hoping to bring Moltafet to the U.S., to reach both the Iranian diaspora here and mainstream hip-hop fans. “And we had so many states [as] part of the tour,” Aghajani says, “and now this thing has put everything on hold, basically, because half our plan is now nothing.”\u003c/p>\n\u003cp>Aghajani says that as an Iranian artist, he’s already had to figure out how to knock down official hurdles. And he thinks that what he and his friends have gone through can be a model for others.\u003c/p>\n\u003cp>“The borders, they cannot stop us,” Aghajani says. “Right now, with all this technology, we don’t have to physically be there to do a show. I mean, you’ve got projection to hologram to augmented reality, virtual reality, all these streaming services. There’s so many technologies right now that we have access to, that I think the artists should be creative, like they shouldn’t be scared or hopeless or anything like that. Imagine if I had this mentality — we had Ahmadinejad. I know Trump is very bad and everything, but Ahmadinejad was way crazier, I think!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For now, attorney Matthew Covey of the organization Tamizdat is offering to prepare and file visa applications, pro bono, for artists from any of the seven countries named in the executive order, no matter what happens.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Even+With+Travel+Ban+Blocked%2C+Artists+Are+Still+Left+Hanging&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12731277/even-with-travel-ban-blocked-artists-are-still-left-hanging","authors":["byline_arts_12731277"],"categories":["arts_69","arts_235"],"tags":["arts_1642","arts_1620","arts_1118","arts_596"],"featImg":"arts_12731278","label":"arts"},"arts_12713990":{"type":"posts","id":"arts_12713990","meta":{"index":"posts_1591205157","site":"arts","id":"12713990","score":null,"sort":[1486152034000]},"guestAuthors":[],"slug":"entrances-not-gonna-say-your-name-proves-the-power-of-omission","title":"ENTRANCE's 'Not Gonna Say Your Name' Proves the Power of Omission","publishDate":1486152034,"format":"standard","headTitle":"ENTRANCE’s ‘Not Gonna Say Your Name’ Proves the Power of Omission | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked Bay Area musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. Over the next couple months, I’ll be posting the most compelling entries I receive, along with a few words from the artist about their inspirations and intentions.\u003c/em>\u003c/p>\n\u003cp>Not a day has gone by for the past few weeks that the morning headlines don’t bear some \u003ca href=\"https://twitter.com/dannyhakim/status/827459555311366144\" target=\"_blank\" rel=\"noopener\">previously incomprehensible news\u003c/a> about our current president. You’ve probably gotten used to reading, saying and hearing the name “Trump” countless times in any given day. (This is to say nothing of repeated exposure to photographs — though there are\u003ca href=\"https://twitter.com/emmaruthless/status/827245399228375040\" target=\"_blank\" rel=\"noopener\"> steps you can take\u003c/a> to ameliorate that one, should you be experiencing negative side effects.)\u003c/p>\n\u003cp>In the weeks leading up to Trump’s inauguration, Guy Blakeslee, a Los Angeles singer-songwriter who performs as ENTRANCE, decided he didn’t want to add to the chorus, so to speak. But he did want to “write a song expressing my own feelings about the election and the state of things in our country,” he says. “Like many, I was in a state of mourning. I wondered, ‘How can I sing about this without saying his name?'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IqpQEHHV6Ns\u003c/p>\n\u003cp>“Not Gonna Say Your Name,” a protest song that takes on the simple, layered vocals of a church hymn, is the result. Released last week, it’s available to hear online for free, of course (the “official” video, above, was made using footage sent in by protesters around the country). But if you decide to purchase it on \u003ca href=\"https://entrancelives.bandcamp.com/album/not-gonna-say-your-name\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>, you get to pat yourself on the back (the song’s proceeds go directly to Planned Parenthood) \u003cem>and \u003c/em>check out the single’s sweet, clearly Sex Pistols-inspired album art while you’re at it. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/a3433238851_16.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12714189\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/a3433238851_16.jpg\" alt=\"a3433238851_16\" width=\"700\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-150x150.jpg 150w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/a>\u003c/p>\n\u003cp>“I decided to use the song to benefit PP because one of the things that is so shocking about the election result is that it sends such a negative message to women and girls,” explains Blakeslee. “It’s the least I could do — for all of the women in the world, in my life, and especially for my mother — to fight back and make a clear statement that we will not accept this backwards agenda.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>ENTRANCE \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/2/4/folk-yeah-presents-bill-callahan\" target=\"_blank\" rel=\"noopener\">plays the Starline Social Club in Oakland\u003c/a> on Saturday, Feb. 4, warming up the stage for Bill Callahan. That show’s sold out, but Blakeslee comes back the Bay to play the Hemlock Tavern in April, after releasing a new full-length called \u003cem>Book of Changes. \u003c/em>He’ll probably be happy to play the song then as well, but: April! There’s truly \u003ca href=\"https://twitter.com/dannyhakim/status/827459555311366144\" target=\"_blank\" rel=\"noopener\">no telling what might happen\u003c/a> between then and now.\u003c/p>\n\n","blocks":[],"excerpt":"A sweet, hymn-like song for Planned Parenthood manages to say a lot — without ever uttering the T-word. ","status":"publish","parent":0,"modified":1705031668,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":541},"headData":{"title":"ENTRANCE's 'Not Gonna Say Your Name' Proves the Power of Omission | KQED","description":"A sweet, hymn-like song for Planned Parenthood manages to say a lot — without ever uttering the T-word. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"ENTRANCE's 'Not Gonna Say Your Name' Proves the Power of Omission","datePublished":"2017-02-03T20:00:34.000Z","dateModified":"2024-01-12T03:54:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12713990/entrances-not-gonna-say-your-name-proves-the-power-of-omission","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked Bay Area musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. Over the next couple months, I’ll be posting the most compelling entries I receive, along with a few words from the artist about their inspirations and intentions.\u003c/em>\u003c/p>\n\u003cp>Not a day has gone by for the past few weeks that the morning headlines don’t bear some \u003ca href=\"https://twitter.com/dannyhakim/status/827459555311366144\" target=\"_blank\" rel=\"noopener\">previously incomprehensible news\u003c/a> about our current president. You’ve probably gotten used to reading, saying and hearing the name “Trump” countless times in any given day. (This is to say nothing of repeated exposure to photographs — though there are\u003ca href=\"https://twitter.com/emmaruthless/status/827245399228375040\" target=\"_blank\" rel=\"noopener\"> steps you can take\u003c/a> to ameliorate that one, should you be experiencing negative side effects.)\u003c/p>\n\u003cp>In the weeks leading up to Trump’s inauguration, Guy Blakeslee, a Los Angeles singer-songwriter who performs as ENTRANCE, decided he didn’t want to add to the chorus, so to speak. But he did want to “write a song expressing my own feelings about the election and the state of things in our country,” he says. “Like many, I was in a state of mourning. I wondered, ‘How can I sing about this without saying his name?'”\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/IqpQEHHV6Ns'\n title='//www.youtube.com/embed/IqpQEHHV6Ns'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Not Gonna Say Your Name,” a protest song that takes on the simple, layered vocals of a church hymn, is the result. Released last week, it’s available to hear online for free, of course (the “official” video, above, was made using footage sent in by protesters around the country). But if you decide to purchase it on \u003ca href=\"https://entrancelives.bandcamp.com/album/not-gonna-say-your-name\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>, you get to pat yourself on the back (the song’s proceeds go directly to Planned Parenthood) \u003cem>and \u003c/em>check out the single’s sweet, clearly Sex Pistols-inspired album art while you’re at it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/a3433238851_16.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12714189\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/a3433238851_16.jpg\" alt=\"a3433238851_16\" width=\"700\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/a3433238851_16-150x150.jpg 150w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003c/a>\u003c/p>\n\u003cp>“I decided to use the song to benefit PP because one of the things that is so shocking about the election result is that it sends such a negative message to women and girls,” explains Blakeslee. “It’s the least I could do — for all of the women in the world, in my life, and especially for my mother — to fight back and make a clear statement that we will not accept this backwards agenda.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>ENTRANCE \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/2/4/folk-yeah-presents-bill-callahan\" target=\"_blank\" rel=\"noopener\">plays the Starline Social Club in Oakland\u003c/a> on Saturday, Feb. 4, warming up the stage for Bill Callahan. That show’s sold out, but Blakeslee comes back the Bay to play the Hemlock Tavern in April, after releasing a new full-length called \u003cem>Book of Changes. \u003c/em>He’ll probably be happy to play the song then as well, but: April! There’s truly \u003ca href=\"https://twitter.com/dannyhakim/status/827459555311366144\" target=\"_blank\" rel=\"noopener\">no telling what might happen\u003c/a> between then and now.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12713990/entrances-not-gonna-say-your-name-proves-the-power-of-omission","authors":["7237"],"categories":["arts_69"],"tags":["arts_1642","arts_1620","arts_1118","arts_596"],"featImg":"arts_12714185","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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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. 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For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.","airtime":"SAT 4pm-5pm","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png","officialWebsiteLink":"https://www.revealnews.org/episodes/","meta":{"site":"news","source":"npr"},"link":"/radio/program/reveal","subscribe":{"apple":"https://itunes.apple.com/us/podcast/reveal/id886009669","tuneIn":"https://tunein.com/radio/Reveal-p679597/","rss":"http://feeds.revealradio.org/revealpodcast"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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