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Reviews performances of classical music and audience behavior at \u003ca href=\"http://operatattler.com\" target=\"_blank\">The Opera Tattler\u003c/a>.","avatar":"https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]}],"headData":{"title":"Charlise Tiee | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ctiee"},"crnoveno":{"type":"authors","id":"11208","meta":{"index":"authors_1591205172","id":"11208","found":true},"name":"Creo Noveno","firstName":"Creo","lastName":"Noveno","slug":"crnoveno","email":"creonoveno@gmail.com","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":null,"avatar":"https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["subscriber"]},{"site":"pop","roles":["contributor"]}],"headData":{"title":"Creo Noveno | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/crnoveno"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13819255":{"type":"posts","id":"arts_13819255","meta":{"index":"posts_1591205157","site":"arts","id":"13819255","score":null,"sort":[1516386497000]},"guestAuthors":[],"slug":"one-year-later-how-are-artists-dealing-with-trump","title":"One Year Later, How Are Artists Dealing With Trump?","publishDate":1516386497,"format":"image","headTitle":"One Year Later, How Are Artists Dealing With Trump? | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>In advance of the president’s first official year in office on Jan. 20, KQED Arts checks back in with some of the artists profiled in our massive ‘\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">First 100 Days: Art in the Age of Trump\u003c/a>‘ series from 2017. To get a read on the artistic response to this administration one year on, we ask five local creatives what’s changed for them personally, politically and creatively.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13819563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819563\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/QuinnNelson-800x450.jpg\" alt=\"Quinn Nelson.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quinn Nelson. \u003ccite>(Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Quinn Nelson\u003c/h2>\n\u003cp>Last year, 14-year-old teenage artist and political cartoonist Quinn Nelson made a lasting impression on thousands of people who picked up copies of the graphic newspaper \u003ci>RESIST!\u003c/i> at women’s marches across the country. Her political cartoon in response to President Trump’s election depicted a furious girl in overalls and pigtails surrounded by the words “I, but young, fill the void with a scream to tell you that I will fight.”\u003c/p>\n\u003cp>All told, 2017 was a big year for Nelson. In addition to being selected for \u003ci>RESIST!\u003c/i> and \u003ca href=\"https://ww2.kqed.org/arts/2017/03/28/meet-the-oakland-14-year-old-cartooning-the-resistance/\" target=\"_blank\" rel=\"noopener\">profiled in a KQED Arts video\u003c/a>, the Oakland Public Library’s TeenZone hosted an \u003ca href=\"http://oaklandlibrary.org/events/main-library/quinn-nelson-art-exhibit-opening-party\" target=\"_blank\" rel=\"noopener\">exhibition of her drawings\u003c/a> in June; it was her very first show.\u003c/p>\n\u003cp>“I never realized how personal my art was until it was thrust out into the public eye,” she says. “It was a little anxiety-provoking, to be perfectly honest. As of now, I have no shows coming up, which is probably a good thing. My schedule is already so busy with school and sports.”\u003c/p>\n\u003cp>https://youtu.be/WUeydpL15Y8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now 15 and in high school, Nelson says she’s working on her drawing skills and exploring new styles. “I’m studying portraits of people and trying to get a better understanding of how to draw the human body and face,” she says. “So far, it’s been fun and challenging.”\u003c/p>\n\u003cp>As for politics, she remains pragmatic. “I was never too optimistic about this presidency, although I never found myself being truly pessimistic about it either,” she says. “To quote \u003ci>Star Wars\u003c/i>, ‘Darkness rises, and the light to meet it.’ Modern civilization has been perpetually engaged in moral tug-of-war for centuries. I believe that this is just another one of those instances.”\u003c/p>\n\u003cp>That doesn’t mean she’s done fighting. You might even see her at the Women’s March again this year. “The last one was so inspiring and empowering. I firmly believe that protest is essential to a productive society,” she says. “It would be so boring if everyone had the same opinions.” \u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819562\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819562\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_.jpg\" alt=\"Mark Harris.\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-520x325.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mark Harris. \u003ccite>(Courtesy Mark Harris/Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mark Harris\u003c/h2>\n\u003cp>San Francisco-based visual artist Mark Harris was already producing politically provocative art when Donald Trump won the White House. So perhaps it’s no surprise to read that Harris, who produced a \u003ca href=\"https://ww2.kqed.org/arts/2017/04/11/mark-harris-creates-postage-stamps-for-a-trumpian-world/\" target=\"_blank\" rel=\"noopener\">series of Trump-related postage stamp art\u003c/a> last year, is still at it. “I’m still exploring racism, gun violence, immigration and police violence. I’ve been delving more into the subtleties of white supremacy, and the role of whiteness and its relation to the social and political power structure in the United States,” Harris tells KQED.\u003c/p>\n\u003cp>That said, Harris insists his morale is high, even higher than it was a year ago, even though “the current administration is no friend of justice, common decency or honor,” he says. (Harris also faced a mini-media frenzy when \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/black-history-month-art-removed-after-parents-complain/\" target=\"_blank\" rel=\"noopener\">his art was removed from administrative school offices in San Jose\u003c/a> during Black History Month.)\u003c/p>\n\u003cfigure id=\"attachment_13819266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819266\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-800x393.jpg\" alt=\"Matthew 19:v30 (But many that are first shall be last; and the last shall be first.) Mixed media collage on panel by Mark Harris (2017)\" width=\"800\" height=\"393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-800x393.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-768x377.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-1020x501.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-1180x580.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-960x472.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-240x118.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-375x184.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-520x256.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Matthew 19:v30 (But many that are first shall be last; and the last shall be first.)’ Mixed media collage on panel by Mark Harris (2017). \u003ccite>(Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think the collective shell-shock has worn off, people are waking up, and realizing there is work to be done to keep this thing from going completely off the rails,” the artist says. “I’m really excited to be contributing to the ‘waking up’ part.”\u003c/p>\n\u003cp>Harris has an upcoming show at Era Art Bar & Lounge in Oakland featuring works from his \u003cem>Economy of Souls\u003c/em> series, which reinterprets the $100 bill (see above), and his \u003cem>PWT’s – Poor White Trumpers\u003c/em> series. The show runs Feb. 2–March 2, with an opening reception Feb. 2 from 6pm-9pm. \u003cem>—Rachael Myrow\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat.jpg\" alt=\"Iman Hassen of the Aswat Ensemble.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Iman Hassen of the Aswat Ensemble. \u003ccite>(Najib 'Joe' Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Nabila Mango, Aswat Ensemble\u003c/h2>\n\u003cp>Last year, \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener\">we introduced you to the Aswat Ensemble’s Notes Against the Ban\u003c/a>, a concert protesting the travel ban affecting six majority-Muslim countries, and addressing growing Islamophobia. “The support we received from the various communities was amazing,” says Aswat founder Nabila Mango, citing sold-out crowds at four different performances in 2017. “So this year we are expanding on that by touching on the themes related to dreamers, immigrants and refugees.”\u003c/p>\n\u003cp>That concert, titled \u003ca href=\"https://www.facebook.com/events/1766132620357972/\" target=\"_blank\" rel=\"noopener\">A Musical Refuge: Salute to Dreamer, Immigrant, and Refugee Resistance\u003c/a>, premieres Jan. 27 at the Islamic Cultural Center in Oakland, featuring collaborations with La Pena Community Chorus, San Jose Taiko, and Vukani Mawethu Choir. (It’s sold out, but will be live-streamed.)\u003c/p>\n\u003cp>“This concert is all about solidarity between communities, celebrating diversity, and resisting the forces that attempt to silence us,” says Mango. “A year on, we are more determined than ever. The communities’ support has empowered us to stand up not only for the Arab and Muslim communities, but to stand together with all communities that face oppression and discrimination. There is no mistaking that xenophobia is on the rise and we cannot sit silently by and observe.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/215884295?title=0&byline=0&portrait=0\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In the audience at last year’s Notes Against the Ban premiere was Oakland mayor Libby Schaaf, who invited the ensemble to perform an abbreviated version at her 2017 State of the City address in November. (Just this week, Schaaf made headlines by declaring that she would be willing to go to jail to defend Oakland’s sanctuary policy, which helps protect immigrants from ICE raids and deportation.) In addition to A Musical Refuge, the group will perform Notes Against the Ban once more, in Palo Alto in Februry.\u003c/p>\n\u003cp>Mango says she and her colleagues are hopeful for the future. “By creating a unified resistance to the backwards policies of the current administration,” she says, “we will be able to amplify our voices so that our call for social change and justice will be heard far and wide. We are growing, we are growing stronger, and our voices will be heard.” \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13084205\" class=\"wp-caption aligncenter\" style=\"max-width: 1897px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13084205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715.jpg\" alt=\"Oakland artist Jon Proby poses with his painting ‘POTUS and me’.\" width=\"1897\" height=\"1069\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715.jpg 1897w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-520x293.jpg 520w\" sizes=\"(max-width: 1897px) 100vw, 1897px\">\u003cfigcaption class=\"wp-caption-text\">Oakland artist Jon Proby poses with his painting ‘POTUS.’ \u003ccite>(Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jon Proby\u003c/h2>\n\u003cp>In some ways, it’s been a great year for Jon Proby. An ardent supporter of Donald Trump, the 38-year-old California native continues to make outspoken political work from his home base of Oakland.\u003c/p>\n\u003cp>One recent piece of which he’s particularly proud is \u003cem>Modern Warfare\u003c/em>, a painting which illustrates what Proby sees as the political and spiritual conflict going on in the United States. Portraits of Vladimir Putin, Rodrigo Duterte, Trump and other hardline political figures face off on the stormy canvas against the likes of Angela Merkel and Pope Francis — “people who have negative things to say about Trump,” Proby says.\u003c/p>\n\u003cfigure id=\"attachment_13819564\" class=\"wp-caption aligncenter\" style=\"max-width: 1873px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819564\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C.jpg\" alt=\"'Modern Warfare,' acrylic on canvas, by Jon Proby.\" width=\"1873\" height=\"1292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C.jpg 1873w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-1180x814.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-520x359.jpg 520w\" sizes=\"(max-width: 1873px) 100vw, 1873px\">\u003cfigcaption class=\"wp-caption-text\">‘Modern Warfare,’ acrylic on canvas, by Jon Proby. \u003ccite>(Courtesy Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We \u003ca href=\"https://ww2.kqed.org/arts/2017/04/25/pro-trump-artist-jon-proby-takes-a-stand-in-oakland/\" target=\"_blank\" rel=\"noopener\">profiled Proby last year\u003c/a> when he participated in a pro-Trump art show in New York. And though he’s not currently able to make a full-time living as an artist — he works construction to pay the rent — Proby does make money through commissions and selling prints.\u003c/p>\n\u003cp>Yet in other ways, the past year hasn’t been easy. Proby relies heavily on social media to market and sell his work, and says he’s “undergone heavy censorship” on social platforms. The artist says Twitter shut down his account after the 2016 presidential election (“I had to start from scratch and I’ve never recovered from that”), and Facebook has repeatedly banned his account for 30-day stretches.\u003c/p>\n\u003cp>Proby says that though his sales are likely to take a hit, he’s planning to move his operations to Gab, the social media platform popular with Trump supporters which touts itself as “a social network that champions free speech, individual liberty, and the free flow of information online.”\u003c/p>\n\u003cp>He’s also had it with California. Proby says he’s nearly ready to move to Texas, where he feels the political climate is more friendly. “I feel like I’m in the wrong place here in California,” he says. “The Bay Area especially is backwards and resisting the changes Trump is bringing to this country.” \u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819558 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts.jpg\" alt=\"Chuck Speery teaches a workshop with a group of students from UC Berkeley and École Polytechnique in late 2017.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chuck Sperry teaches a workshop with a group of students from UC Berkeley and École Polytechnique in late 2017. \u003ccite>(Shaun Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chuck Sperry\u003c/h2>\n\u003cp>As KQED Arts reported last year, rock poster artist Chuck Sperry turned his attention in 2017 toward politics, designing posters for both the \u003ca href=\"https://www.chucksperry.net/resist-poster-for-womens-march-2017/\" target=\"_blank\" rel=\"noopener\">Women’s March\u003c/a> and the \u003ca href=\"https://ww2.kqed.org/arts/2017/04/21/rock-poster-artist-chuck-sperry-turns-focus-to-science-march/\" target=\"_blank\" rel=\"noopener\">March for Science\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819557\" class=\"wp-caption alignright\" style=\"max-width: 722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819557 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018.jpg\" alt=\"'Women Rising,' poster for the Women's March 2018, Chuck Sperry.\" width=\"722\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018.jpg 722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-375x499.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-520x691.jpg 520w\" sizes=\"(max-width: 722px) 100vw, 722px\">\u003cfigcaption class=\"wp-caption-text\">‘Women Rising,’ poster for the Women’s March 2018, Chuck Sperry. \u003ccite>(Courtesy Chuck Speery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we caught up with him this year, he’d just delivered 4,500 posters to Las Vegas and Washington, D.C. for their respective Women’s Marches on Jan. 20. This year, he plans to be in Oakland and San Francisco distributing his posters by hand and protesting the current administration, which he calls “anti-democratic, autocratic even. We need to take back control of Congress.\u003cbr>\nMy efforts are aimed at preserving our democracy, which is a very basic American core issue.”\u003c/p>\n\u003cp>For his part, Sperry vows to continue to create art for marches and other resistance activities until the current administration is removed from power. And he knows he’s not alone.\u003c/p>\n\u003cp>“I have been encouraged by the commitment of people who have spoken out strongly and in no uncertain terms against the ignorance, corruption and bigotry of the government in power,” he says. “The party in power has so debased its own values that there will be a reckoning from the common-sense American voter. We need to keep on the offensive, be seen on the streets, and heard in the media.” \u003cem>—Rachael Myrow\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"We check in with five artists from our 'First 100 Days: Art in the Age of Trump' series to learn what's changed for them personally, politically and creatively.","status":"publish","parent":0,"modified":1705028737,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":1798},"headData":{"title":"One Year Later, How Are Artists Dealing With Trump? | KQED","description":"We check in with five artists from our 'First 100 Days: Art in the Age of Trump' series to learn what's changed for them personally, politically and creatively.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"One Year Later, How Are Artists Dealing With Trump?","datePublished":"2018-01-19T18:28:17.000Z","dateModified":"2024-01-12T03:05:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13819255/one-year-later-how-are-artists-dealing-with-trump","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>In advance of the president’s first official year in office on Jan. 20, KQED Arts checks back in with some of the artists profiled in our massive ‘\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">First 100 Days: Art in the Age of Trump\u003c/a>‘ series from 2017. To get a read on the artistic response to this administration one year on, we ask five local creatives what’s changed for them personally, politically and creatively.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13819563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819563\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/QuinnNelson-800x450.jpg\" alt=\"Quinn Nelson.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/QuinnNelson-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quinn Nelson. \u003ccite>(Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Quinn Nelson\u003c/h2>\n\u003cp>Last year, 14-year-old teenage artist and political cartoonist Quinn Nelson made a lasting impression on thousands of people who picked up copies of the graphic newspaper \u003ci>RESIST!\u003c/i> at women’s marches across the country. Her political cartoon in response to President Trump’s election depicted a furious girl in overalls and pigtails surrounded by the words “I, but young, fill the void with a scream to tell you that I will fight.”\u003c/p>\n\u003cp>All told, 2017 was a big year for Nelson. In addition to being selected for \u003ci>RESIST!\u003c/i> and \u003ca href=\"https://ww2.kqed.org/arts/2017/03/28/meet-the-oakland-14-year-old-cartooning-the-resistance/\" target=\"_blank\" rel=\"noopener\">profiled in a KQED Arts video\u003c/a>, the Oakland Public Library’s TeenZone hosted an \u003ca href=\"http://oaklandlibrary.org/events/main-library/quinn-nelson-art-exhibit-opening-party\" target=\"_blank\" rel=\"noopener\">exhibition of her drawings\u003c/a> in June; it was her very first show.\u003c/p>\n\u003cp>“I never realized how personal my art was until it was thrust out into the public eye,” she says. “It was a little anxiety-provoking, to be perfectly honest. As of now, I have no shows coming up, which is probably a good thing. My schedule is already so busy with school and sports.”\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/WUeydpL15Y8'\n title='//www.youtube.com/embed/WUeydpL15Y8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>Now 15 and in high school, Nelson says she’s working on her drawing skills and exploring new styles. “I’m studying portraits of people and trying to get a better understanding of how to draw the human body and face,” she says. “So far, it’s been fun and challenging.”\u003c/p>\n\u003cp>As for politics, she remains pragmatic. “I was never too optimistic about this presidency, although I never found myself being truly pessimistic about it either,” she says. “To quote \u003ci>Star Wars\u003c/i>, ‘Darkness rises, and the light to meet it.’ Modern civilization has been perpetually engaged in moral tug-of-war for centuries. I believe that this is just another one of those instances.”\u003c/p>\n\u003cp>That doesn’t mean she’s done fighting. You might even see her at the Women’s March again this year. “The last one was so inspiring and empowering. I firmly believe that protest is essential to a productive society,” she says. “It would be so boring if everyone had the same opinions.” \u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819562\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819562\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_.jpg\" alt=\"Mark Harris.\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/MarkHarris.MAIN_-520x325.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mark Harris. \u003ccite>(Courtesy Mark Harris/Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mark Harris\u003c/h2>\n\u003cp>San Francisco-based visual artist Mark Harris was already producing politically provocative art when Donald Trump won the White House. So perhaps it’s no surprise to read that Harris, who produced a \u003ca href=\"https://ww2.kqed.org/arts/2017/04/11/mark-harris-creates-postage-stamps-for-a-trumpian-world/\" target=\"_blank\" rel=\"noopener\">series of Trump-related postage stamp art\u003c/a> last year, is still at it. “I’m still exploring racism, gun violence, immigration and police violence. I’ve been delving more into the subtleties of white supremacy, and the role of whiteness and its relation to the social and political power structure in the United States,” Harris tells KQED.\u003c/p>\n\u003cp>That said, Harris insists his morale is high, even higher than it was a year ago, even though “the current administration is no friend of justice, common decency or honor,” he says. (Harris also faced a mini-media frenzy when \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/black-history-month-art-removed-after-parents-complain/\" target=\"_blank\" rel=\"noopener\">his art was removed from administrative school offices in San Jose\u003c/a> during Black History Month.)\u003c/p>\n\u003cfigure id=\"attachment_13819266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819266\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-800x393.jpg\" alt=\"Matthew 19:v30 (But many that are first shall be last; and the last shall be first.) Mixed media collage on panel by Mark Harris (2017)\" width=\"800\" height=\"393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-800x393.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-768x377.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-1020x501.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-1180x580.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-960x472.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-240x118.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-375x184.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95-520x256.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/133190BE-2B0B-4DF4-909A-B2ED8D292A95.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Matthew 19:v30 (But many that are first shall be last; and the last shall be first.)’ Mixed media collage on panel by Mark Harris (2017). \u003ccite>(Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think the collective shell-shock has worn off, people are waking up, and realizing there is work to be done to keep this thing from going completely off the rails,” the artist says. “I’m really excited to be contributing to the ‘waking up’ part.”\u003c/p>\n\u003cp>Harris has an upcoming show at Era Art Bar & Lounge in Oakland featuring works from his \u003cem>Economy of Souls\u003c/em> series, which reinterprets the $100 bill (see above), and his \u003cem>PWT’s – Poor White Trumpers\u003c/em> series. The show runs Feb. 2–March 2, with an opening reception Feb. 2 from 6pm-9pm. \u003cem>—Rachael Myrow\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819559\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat.jpg\" alt=\"Iman Hassen of the Aswat Ensemble.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Iman-Hassen-Aswat-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Iman Hassen of the Aswat Ensemble. \u003ccite>(Najib 'Joe' Hakim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Nabila Mango, Aswat Ensemble\u003c/h2>\n\u003cp>Last year, \u003ca href=\"https://ww2.kqed.org/arts/2017/03/13/music-from-seven-muslim-majority-countries-in-notes-against-the-ban/\" target=\"_blank\" rel=\"noopener\">we introduced you to the Aswat Ensemble’s Notes Against the Ban\u003c/a>, a concert protesting the travel ban affecting six majority-Muslim countries, and addressing growing Islamophobia. “The support we received from the various communities was amazing,” says Aswat founder Nabila Mango, citing sold-out crowds at four different performances in 2017. “So this year we are expanding on that by touching on the themes related to dreamers, immigrants and refugees.”\u003c/p>\n\u003cp>That concert, titled \u003ca href=\"https://www.facebook.com/events/1766132620357972/\" target=\"_blank\" rel=\"noopener\">A Musical Refuge: Salute to Dreamer, Immigrant, and Refugee Resistance\u003c/a>, premieres Jan. 27 at the Islamic Cultural Center in Oakland, featuring collaborations with La Pena Community Chorus, San Jose Taiko, and Vukani Mawethu Choir. (It’s sold out, but will be live-streamed.)\u003c/p>\n\u003cp>“This concert is all about solidarity between communities, celebrating diversity, and resisting the forces that attempt to silence us,” says Mango. “A year on, we are more determined than ever. The communities’ support has empowered us to stand up not only for the Arab and Muslim communities, but to stand together with all communities that face oppression and discrimination. There is no mistaking that xenophobia is on the rise and we cannot sit silently by and observe.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/215884295?title=0&byline=0&portrait=0\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In the audience at last year’s Notes Against the Ban premiere was Oakland mayor Libby Schaaf, who invited the ensemble to perform an abbreviated version at her 2017 State of the City address in November. (Just this week, Schaaf made headlines by declaring that she would be willing to go to jail to defend Oakland’s sanctuary policy, which helps protect immigrants from ICE raids and deportation.) In addition to A Musical Refuge, the group will perform Notes Against the Ban once more, in Palo Alto in Februry.\u003c/p>\n\u003cp>Mango says she and her colleagues are hopeful for the future. “By creating a unified resistance to the backwards policies of the current administration,” she says, “we will be able to amplify our voices so that our call for social change and justice will be heard far and wide. We are growing, we are growing stronger, and our voices will be heard.” \u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13084205\" class=\"wp-caption aligncenter\" style=\"max-width: 1897px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13084205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715.jpg\" alt=\"Oakland artist Jon Proby poses with his painting ‘POTUS and me’.\" width=\"1897\" height=\"1069\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715.jpg 1897w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/POTUS-and-me-e1492730665715-520x293.jpg 520w\" sizes=\"(max-width: 1897px) 100vw, 1897px\">\u003cfigcaption class=\"wp-caption-text\">Oakland artist Jon Proby poses with his painting ‘POTUS.’ \u003ccite>(Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jon Proby\u003c/h2>\n\u003cp>In some ways, it’s been a great year for Jon Proby. An ardent supporter of Donald Trump, the 38-year-old California native continues to make outspoken political work from his home base of Oakland.\u003c/p>\n\u003cp>One recent piece of which he’s particularly proud is \u003cem>Modern Warfare\u003c/em>, a painting which illustrates what Proby sees as the political and spiritual conflict going on in the United States. Portraits of Vladimir Putin, Rodrigo Duterte, Trump and other hardline political figures face off on the stormy canvas against the likes of Angela Merkel and Pope Francis — “people who have negative things to say about Trump,” Proby says.\u003c/p>\n\u003cfigure id=\"attachment_13819564\" class=\"wp-caption aligncenter\" style=\"max-width: 1873px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819564\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C.jpg\" alt=\"'Modern Warfare,' acrylic on canvas, by Jon Proby.\" width=\"1873\" height=\"1292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C.jpg 1873w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-1180x814.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-240x166.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-375x259.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Modern-Warfare-Acrylic-on-C-520x359.jpg 520w\" sizes=\"(max-width: 1873px) 100vw, 1873px\">\u003cfigcaption class=\"wp-caption-text\">‘Modern Warfare,’ acrylic on canvas, by Jon Proby. \u003ccite>(Courtesy Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We \u003ca href=\"https://ww2.kqed.org/arts/2017/04/25/pro-trump-artist-jon-proby-takes-a-stand-in-oakland/\" target=\"_blank\" rel=\"noopener\">profiled Proby last year\u003c/a> when he participated in a pro-Trump art show in New York. And though he’s not currently able to make a full-time living as an artist — he works construction to pay the rent — Proby does make money through commissions and selling prints.\u003c/p>\n\u003cp>Yet in other ways, the past year hasn’t been easy. Proby relies heavily on social media to market and sell his work, and says he’s “undergone heavy censorship” on social platforms. The artist says Twitter shut down his account after the 2016 presidential election (“I had to start from scratch and I’ve never recovered from that”), and Facebook has repeatedly banned his account for 30-day stretches.\u003c/p>\n\u003cp>Proby says that though his sales are likely to take a hit, he’s planning to move his operations to Gab, the social media platform popular with Trump supporters which touts itself as “a social network that champions free speech, individual liberty, and the free flow of information online.”\u003c/p>\n\u003cp>He’s also had it with California. Proby says he’s nearly ready to move to Texas, where he feels the political climate is more friendly. “I feel like I’m in the wrong place here in California,” he says. “The Bay Area especially is backwards and resisting the changes Trump is bringing to this country.” \u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cfigure id=\"attachment_13819558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819558 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts.jpg\" alt=\"Chuck Speery teaches a workshop with a group of students from UC Berkeley and École Polytechnique in late 2017.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSpeery.SHaunRoberts-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chuck Sperry teaches a workshop with a group of students from UC Berkeley and École Polytechnique in late 2017. \u003ccite>(Shaun Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Chuck Sperry\u003c/h2>\n\u003cp>As KQED Arts reported last year, rock poster artist Chuck Sperry turned his attention in 2017 toward politics, designing posters for both the \u003ca href=\"https://www.chucksperry.net/resist-poster-for-womens-march-2017/\" target=\"_blank\" rel=\"noopener\">Women’s March\u003c/a> and the \u003ca href=\"https://ww2.kqed.org/arts/2017/04/21/rock-poster-artist-chuck-sperry-turns-focus-to-science-march/\" target=\"_blank\" rel=\"noopener\">March for Science\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819557\" class=\"wp-caption alignright\" style=\"max-width: 722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819557 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018.jpg\" alt=\"'Women Rising,' poster for the Women's March 2018, Chuck Sperry.\" width=\"722\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018.jpg 722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-375x499.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ChuckSPeery.2018-520x691.jpg 520w\" sizes=\"(max-width: 722px) 100vw, 722px\">\u003cfigcaption class=\"wp-caption-text\">‘Women Rising,’ poster for the Women’s March 2018, Chuck Sperry. \u003ccite>(Courtesy Chuck Speery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we caught up with him this year, he’d just delivered 4,500 posters to Las Vegas and Washington, D.C. for their respective Women’s Marches on Jan. 20. This year, he plans to be in Oakland and San Francisco distributing his posters by hand and protesting the current administration, which he calls “anti-democratic, autocratic even. We need to take back control of Congress.\u003cbr>\nMy efforts are aimed at preserving our democracy, which is a very basic American core issue.”\u003c/p>\n\u003cp>For his part, Sperry vows to continue to create art for marches and other resistance activities until the current administration is removed from power. And he knows he’s not alone.\u003c/p>\n\u003cp>“I have been encouraged by the commitment of people who have spoken out strongly and in no uncertain terms against the ignorance, corruption and bigotry of the government in power,” he says. “The party in power has so debased its own values that there will be a reckoning from the common-sense American voter. We need to keep on the offensive, be seen on the streets, and heard in the media.” \u003cem>—Rachael Myrow\u003c/em>\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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13819255/one-year-later-how-are-artists-dealing-with-trump","authors":["251","61","185","8608"],"categories":["arts_1","arts_835","arts_69","arts_235","arts_70"],"tags":["arts_1642","arts_1118","arts_596"],"featImg":"arts_13819566","label":"arts"},"arts_13130991":{"type":"posts","id":"arts_13130991","meta":{"index":"posts_1591205157","site":"arts","id":"13130991","score":null,"sort":[1493557224000]},"guestAuthors":[],"slug":"climate-march-marks-trumps-100th-day-with-oakland-protest-photos","title":"Climate March Marks Trump's 100th Day With Oakland Protest: Photos","publishDate":1493557224,"format":"image","headTitle":"Climate March Marks Trump’s 100th Day With Oakland Protest: Photos | KQED","labelTerm":{"term":1259,"site":"arts"},"content":"\u003cp>“There are no jobs on a dead planet.” “Make the earth cool again.” “I need ice, ice, baby.” \u003c/p>\n\u003cp>As Bay Area comedian Margo Gomez and spoken-word artist Jevon Cochran took turns reading handmade signs from a bicycle-powered stage, hundreds of people danced, rallied and marched Saturday, choosing to spend a beautiful afternoon at Lake Merritt urging a fight against climate change.\u003c/p>\n\u003cp>On April 29, which marked the end of the first 100 days of the Trump administration, the rally featured talks from local artists, dozens of booths with information on sustainable living and live music from LoCura and Rupa & the April Fishes.\u003c/p>\n\u003cfigure id=\"attachment_13131277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-800x533.jpg\" alt=\"Rupa & the April Fishes perform at the People's Climate march in Oakland, April 29, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13131277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rupa & the April Fishes perform at the People’s Climate march in Oakland, April 29, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gomez and Cochran urged the crowd to get more involved with their local community to push for action — and Cochran decided to lead by example, taking $5 out of his pocket and donating it to the Bay Area People’s Climate Movement.\u003c/p>\n\u003cp>The grassy area in front of the Lake Merritt Amphitheater teemed with a diverse mix of people: young children, parents, college students and veteran activists. Oakland’s was one of more than 250 sister marches supporting the People’s Climate March in Washington, D.C., and police estimated total attendance at 2,500. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among those were groups of environmental activists choreographing a dance to a “Soil” version of Lorde’s “Royals,” a mother-daughter duo biking to power the stage, groups of people meditating on the grass and even a few dressed as polar bears. \u003c/p>\n\u003cfigure id=\"attachment_13131269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-800x533.jpg\" alt=\"Event MCs Marga Gomez and Jevon Cocharan at the People's Climate march in Oakland, April 29, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13131269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Event MCs Marga Gomez and Jevon Cocharan at the People’s Climate march in Oakland, April 29, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In true sustainable fashion, the stage was powered by Rock The Bike, a pedal-power concert and activities company owned by Paul Freedman. “I think people need to feel inspired by teamwork and personal action,” Freedman said. “We can’t wait for Teslas, solar panels and wind turbines to fix it, and we certainly can’t wait for politicians to fix it.”\u003c/p>\n\u003cp>Event coordinator Louise Chegwidden also said she hoped to inspire others. “The people who least contribute to greenhouse gasses are the first to be impacted by the ravages of climate change and that’s not right,” Chegwidden says. “I have a 14-year-old son, I breathe air, I drink water, I’m human and I’m part of the biosphere that we share with all other life — and we are the ones who are ruining the show for everybody. So we’re the ones who need to clean it up.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>More photos below. (All photos by Estefany Gonzalez.)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13131278,13131265,13131272,13131267,13131275,13131266,13131273,13131268,13131270,13131264,13131271,13131276,13131274,13134190,13134189,13134188,13134187\"]\u003c/p>\n\n","blocks":[],"excerpt":"Saturday's climate march and rally drew 2,500 people to Lake Merritt. ","status":"publish","parent":0,"modified":1705030797,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":true,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":499},"headData":{"title":"Climate March Marks Trump's 100th Day With Oakland Protest: Photos | KQED","description":"Saturday's climate march and rally drew 2,500 people to Lake Merritt. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Climate March Marks Trump's 100th Day With Oakland Protest: Photos","datePublished":"2017-04-30T13:00:24.000Z","dateModified":"2024-01-12T03:39:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Estefany Gonzalez","path":"/arts/13130991/climate-march-marks-trumps-100th-day-with-oakland-protest-photos","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“There are no jobs on a dead planet.” “Make the earth cool again.” “I need ice, ice, baby.” \u003c/p>\n\u003cp>As Bay Area comedian Margo Gomez and spoken-word artist Jevon Cochran took turns reading handmade signs from a bicycle-powered stage, hundreds of people danced, rallied and marched Saturday, choosing to spend a beautiful afternoon at Lake Merritt urging a fight against climate change.\u003c/p>\n\u003cp>On April 29, which marked the end of the first 100 days of the Trump administration, the rally featured talks from local artists, dozens of booths with information on sustainable living and live music from LoCura and Rupa & the April Fishes.\u003c/p>\n\u003cfigure id=\"attachment_13131277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-800x533.jpg\" alt=\"Rupa & the April Fishes perform at the People's Climate march in Oakland, April 29, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13131277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rupa-The-April-Fishes-01-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rupa & the April Fishes perform at the People’s Climate march in Oakland, April 29, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gomez and Cochran urged the crowd to get more involved with their local community to push for action — and Cochran decided to lead by example, taking $5 out of his pocket and donating it to the Bay Area People’s Climate Movement.\u003c/p>\n\u003cp>The grassy area in front of the Lake Merritt Amphitheater teemed with a diverse mix of people: young children, parents, college students and veteran activists. Oakland’s was one of more than 250 sister marches supporting the People’s Climate March in Washington, D.C., and police estimated total attendance at 2,500. \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>Among those were groups of environmental activists choreographing a dance to a “Soil” version of Lorde’s “Royals,” a mother-daughter duo biking to power the stage, groups of people meditating on the grass and even a few dressed as polar bears. \u003c/p>\n\u003cfigure id=\"attachment_13131269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-800x533.jpg\" alt=\"Event MCs Marga Gomez and Jevon Cocharan at the People's Climate march in Oakland, April 29, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13131269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Event-MCs-Marga-Gomez-and-Jevon-Cocharan-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Event MCs Marga Gomez and Jevon Cocharan at the People’s Climate march in Oakland, April 29, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In true sustainable fashion, the stage was powered by Rock The Bike, a pedal-power concert and activities company owned by Paul Freedman. “I think people need to feel inspired by teamwork and personal action,” Freedman said. “We can’t wait for Teslas, solar panels and wind turbines to fix it, and we certainly can’t wait for politicians to fix it.”\u003c/p>\n\u003cp>Event coordinator Louise Chegwidden also said she hoped to inspire others. “The people who least contribute to greenhouse gasses are the first to be impacted by the ravages of climate change and that’s not right,” Chegwidden says. “I have a 14-year-old son, I breathe air, I drink water, I’m human and I’m part of the biosphere that we share with all other life — and we are the ones who are ruining the show for everybody. So we’re the ones who need to clean it up.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>More photos below. (All photos by Estefany Gonzalez.)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"gallery","attributes":{"named":{"type":"slideshow","size":"full","ids":"13131278,13131265,13131272,13131267,13131275,13131266,13131273,13131268,13131270,13131264,13131271,13131276,13131274,13134190,13134189,13134188,13134187","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13130991/climate-march-marks-trumps-100th-day-with-oakland-protest-photos","authors":["byline_arts_13130991"],"series":["arts_1259"],"categories":["arts_835","arts_69","arts_235"],"tags":["arts_1642","arts_1118","arts_1785","arts_746","arts_596","arts_822","arts_769"],"featImg":"arts_13131262","label":"arts_1259"},"arts_13120077":{"type":"posts","id":"arts_13120077","meta":{"index":"posts_1591205157","site":"arts","id":"13120077","score":null,"sort":[1493478003000]},"guestAuthors":[],"slug":"in-the-early-days-of-the-trump-empire-the-protest-song-springs-to-life","title":"In the Early Days of the Trump Era, the Protest Song Springs to Life","publishDate":1493478003,"format":"standard","headTitle":"In the Early Days of the Trump Era, the Protest Song Springs to Life | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>As a child of the Bay Area, and a child of Baby Boomers, I’ve grown up with the songs of the late ’60s and ’70s knitted into my psyche — the anti-war anthems, the soundtrack to the \u003ca href=\"https://ww2.kqed.org/arts/2017/04/12/de-young-summer-of-love-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">free love era\u003c/a>, \u003cem>Stop, hey, what’s that sound.\u003c/em> You know the tunes.\u003c/p>\n\u003cp>But modern-day protest songs are a different animal. Hip-hop has arguably been our most consistently political genre, at least in the U.S. — and especially in the past five years, with police shootings of unarmed young black men making headlines nearly every day.\u003c/p>\n\u003cp>Then Donald Trump was sworn in as President of the United States on Jan. 20, 2017. When we at KQED Arts decided to document local artists’ responses to our new administration with daily posts, I put out a call on social media, asking local musicians to send me the songs they’d written and recorded about our current political climate.\u003c/p>\n\u003cp>I don’t know what I was expecting, but the responses blew me away. Folk, pop, rock ‘n’ roll, hip-hop and soul music arrived in my inbox. These songs’ lyrics were all over the map — messages of anger, hurt, and fear, as well as words about strength, peace, and the power of community. I asked each musician that we covered the same questions: How and when did you write this? What were you feeling? How do you see your role as an artist right now? When you need inspiration, what else are you reading, watching, listening to?\u003c/p>\n\u003cp>I’m humbled and honored to have gotten a small peek inside the minds of some of the Bay Area’s best musical revolutionaries, some established and some emerging. And I discovered some new favorite bands along the way, too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here are the 13 songs — and their accompanying interviews — that helped \u003cem>me\u003c/em> make it through these the 100 days.\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/04/21/rocky-riveras-round-we-go-is-a-call-to-action-and-a-reminder-weve-been-here-before/\" target=\"_blank\" rel=\"noopener\">Rocky Rivera’s “Round We Go” Is A Call to Action: “We Need to Mobilize” \u003c/a>\u003c/h3>\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\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/04/14/on-john-elliotts-the-art-of-the-deal-a-young-trump-is-the-real-wolf-of-wall-street/\" target=\"_blank\" rel=\"noopener\">On John Elliott’s “The Art of the Deal,” A Young Trump is the Real Wolf of Wall Street\u003c/a>\u003c/h3>\n\u003cp>http://media.virbcdn.com/songs/originals/fc/1681b0a107c1f7b1-TheArtOfTheDeal.mp3\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/04/07/joan-baez-imagines-a-post-trump-world-on-nasty-man/\" target=\"_blank\" rel=\"noopener\">Joan Baez Imagines a Post-Trump World on “Nasty Man”\u003c/a>\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2FOfficialJoanBaez%2Fvideos%2F10155131646864417%2F&width=500&show_text=false&height=280&appId\" width=\"500\" height=\"280\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/24/diana-gameros-questions-borders-and-bridges-in-como-hacer/\" target=\"_blank\" rel=\"noopener\">Diana Gameros Questions Borders and Bridges in “Como Hacer?” \u003c/a>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=1rxEO8-hDsA\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/17/sam-chase-drowns-out-political-chaos-with-a-great-white-noise/\" target=\"_blank\" rel=\"noopener\">Sam Chase Drowns Out Political Chaos With “A Great White Noise” \u003c/a>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=6MhULmqn3DU\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/31/on-kev-choices-morning-star-palestine-isnt-so-far-from-home/\" target=\"_blank\" rel=\"noopener\">On Kev Choice’s “Morning Star,” Palestine Isn’t So Far From Home \u003c/a>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=Oh9RS4PjDU0&feature=youtu.be\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/10/dame-drummers-black-and-beautiful-rises-above-the-negativity/\" target=\"_blank\" rel=\"noopener\">Dame Drummer’s “Black and Beautiful” Rises Above the Negativity \u003c/a>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=qZWPizUlMjM\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/03/chicano-batman-master-the-art-of-perspective-on-freedom-is-free/\" target=\"_blank\" rel=\"noopener\">Chicano Batman Masters the Art of Perspective on “Freedom Is Free” \u003c/a>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=68ufG3G59H4\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/10/dooms-virginia-tackles-the-trump-era-liars-on-devour/\" target=\"_blank\" rel=\"noopener\">Dooms Virginia Tackles the Trump-Era Liars on “Devour” \u003c/a>\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\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/25/las-cafeteras-imagine-a-radically-peaceful-future-in-if-i-was-president/\" target=\"_blank\" rel=\"noopener\">Las Cafeteras Imagine a Radically Peaceful Future in “If I Was President” \u003c/a>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=5XqqsuLl8hU\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/17/in-he-will-not-divide-us-immigration-issues-hit-robin-dupont-close-to-home/\" target=\"_blank\" rel=\"noopener\">In Robin DuPont’s “He Will Not Divide Us,” Immigration Issues Hit Close To Home\u003c/a>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/303730121″ 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\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/03/entrances-not-gonna-say-your-name-proves-the-power-of-omission/\" target=\"_blank\" rel=\"noopener\">Entrance’s “Not Gonna Say Your Name” Proves the Power of Omission \u003c/a>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=IqpQEHHV6Ns\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/27/kiwi-illafontes-seeds-is-the-nina-simone-sampling-protest-track-you-need/\" target=\"_blank\" rel=\"noopener\">Kiwi Illafonte’s “Seeds” Is the Nina Simone-Sampling Protest Track You Need \u003c/a>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=JO664NjJeNI&feature=youtu.be\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":"A look back at the new political songs we featured, most by local artists, during Trump's first 100 days. ","status":"publish","parent":0,"modified":1705030802,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":744},"headData":{"title":"In the Early Days of the Trump Era, the Protest Song Springs to Life | KQED","description":"A look back at the new political songs we featured, most by local artists, during Trump's first 100 days. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In the Early Days of the Trump Era, the Protest Song Springs to Life","datePublished":"2017-04-29T15:00:03.000Z","dateModified":"2024-01-12T03:40:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13120077/in-the-early-days-of-the-trump-empire-the-protest-song-springs-to-life","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a child of the Bay Area, and a child of Baby Boomers, I’ve grown up with the songs of the late ’60s and ’70s knitted into my psyche — the anti-war anthems, the soundtrack to the \u003ca href=\"https://ww2.kqed.org/arts/2017/04/12/de-young-summer-of-love-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">free love era\u003c/a>, \u003cem>Stop, hey, what’s that sound.\u003c/em> You know the tunes.\u003c/p>\n\u003cp>But modern-day protest songs are a different animal. Hip-hop has arguably been our most consistently political genre, at least in the U.S. — and especially in the past five years, with police shootings of unarmed young black men making headlines nearly every day.\u003c/p>\n\u003cp>Then Donald Trump was sworn in as President of the United States on Jan. 20, 2017. When we at KQED Arts decided to document local artists’ responses to our new administration with daily posts, I put out a call on social media, asking local musicians to send me the songs they’d written and recorded about our current political climate.\u003c/p>\n\u003cp>I don’t know what I was expecting, but the responses blew me away. Folk, pop, rock ‘n’ roll, hip-hop and soul music arrived in my inbox. These songs’ lyrics were all over the map — messages of anger, hurt, and fear, as well as words about strength, peace, and the power of community. I asked each musician that we covered the same questions: How and when did you write this? What were you feeling? How do you see your role as an artist right now? When you need inspiration, what else are you reading, watching, listening to?\u003c/p>\n\u003cp>I’m humbled and honored to have gotten a small peek inside the minds of some of the Bay Area’s best musical revolutionaries, some established and some emerging. And I discovered some new favorite bands along the way, too.\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>Here are the 13 songs — and their accompanying interviews — that helped \u003cem>me\u003c/em> make it through these the 100 days.\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/04/21/rocky-riveras-round-we-go-is-a-call-to-action-and-a-reminder-weve-been-here-before/\" target=\"_blank\" rel=\"noopener\">Rocky Rivera’s “Round We Go” Is A Call to Action: “We Need to Mobilize” \u003c/a>\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/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\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/04/14/on-john-elliotts-the-art-of-the-deal-a-young-trump-is-the-real-wolf-of-wall-street/\" target=\"_blank\" rel=\"noopener\">On John Elliott’s “The Art of the Deal,” A Young Trump is the Real Wolf of Wall Street\u003c/a>\u003c/h3>\n\u003cp>http://media.virbcdn.com/songs/originals/fc/1681b0a107c1f7b1-TheArtOfTheDeal.mp3\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/04/07/joan-baez-imagines-a-post-trump-world-on-nasty-man/\" target=\"_blank\" rel=\"noopener\">Joan Baez Imagines a Post-Trump World on “Nasty Man”\u003c/a>\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2FOfficialJoanBaez%2Fvideos%2F10155131646864417%2F&width=500&show_text=false&height=280&appId\" width=\"500\" height=\"280\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/24/diana-gameros-questions-borders-and-bridges-in-como-hacer/\" target=\"_blank\" rel=\"noopener\">Diana Gameros Questions Borders and Bridges in “Como Hacer?” \u003c/a>\u003c/h3>\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/1rxEO8-hDsA'\n title='//www.youtube.com/embed/1rxEO8-hDsA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/17/sam-chase-drowns-out-political-chaos-with-a-great-white-noise/\" target=\"_blank\" rel=\"noopener\">Sam Chase Drowns Out Political Chaos With “A Great White Noise” \u003c/a>\u003c/h3>\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/6MhULmqn3DU'\n title='//www.youtube.com/embed/6MhULmqn3DU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/31/on-kev-choices-morning-star-palestine-isnt-so-far-from-home/\" target=\"_blank\" rel=\"noopener\">On Kev Choice’s “Morning Star,” Palestine Isn’t So Far From Home \u003c/a>\u003c/h3>\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/Oh9RS4PjDU0'\n title='//www.youtube.com/embed/Oh9RS4PjDU0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/10/dame-drummers-black-and-beautiful-rises-above-the-negativity/\" target=\"_blank\" rel=\"noopener\">Dame Drummer’s “Black and Beautiful” Rises Above the Negativity \u003c/a>\u003c/h3>\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/qZWPizUlMjM'\n title='//www.youtube.com/embed/qZWPizUlMjM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/03/chicano-batman-master-the-art-of-perspective-on-freedom-is-free/\" target=\"_blank\" rel=\"noopener\">Chicano Batman Masters the Art of Perspective on “Freedom Is Free” \u003c/a>\u003c/h3>\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/68ufG3G59H4'\n title='//www.youtube.com/embed/68ufG3G59H4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/10/dooms-virginia-tackles-the-trump-era-liars-on-devour/\" target=\"_blank\" rel=\"noopener\">Dooms Virginia Tackles the Trump-Era Liars on “Devour” \u003c/a>\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\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/25/las-cafeteras-imagine-a-radically-peaceful-future-in-if-i-was-president/\" target=\"_blank\" rel=\"noopener\">Las Cafeteras Imagine a Radically Peaceful Future in “If I Was President” \u003c/a>\u003c/h3>\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/5XqqsuLl8hU'\n title='//www.youtube.com/embed/5XqqsuLl8hU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/17/in-he-will-not-divide-us-immigration-issues-hit-robin-dupont-close-to-home/\" target=\"_blank\" rel=\"noopener\">In Robin DuPont’s “He Will Not Divide Us,” Immigration Issues Hit Close To Home\u003c/a>\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/303730121″&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/303730121″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/02/03/entrances-not-gonna-say-your-name-proves-the-power-of-omission/\" target=\"_blank\" rel=\"noopener\">Entrance’s “Not Gonna Say Your Name” Proves the Power of Omission \u003c/a>\u003c/h3>\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>\u003ch3>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/27/kiwi-illafontes-seeds-is-the-nina-simone-sampling-protest-track-you-need/\" target=\"_blank\" rel=\"noopener\">Kiwi Illafonte’s “Seeds” Is the Nina Simone-Sampling Protest Track You Need \u003c/a>\u003c/h3>\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/JO664NjJeNI'\n title='//www.youtube.com/embed/JO664NjJeNI'\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-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/13120077/in-the-early-days-of-the-trump-empire-the-protest-song-springs-to-life","authors":["7237"],"categories":["arts_69"],"tags":["arts_1642","arts_1118","arts_596"],"featImg":"arts_13124133","label":"arts"},"arts_13103612":{"type":"posts","id":"arts_13103612","meta":{"index":"posts_1591205157","site":"arts","id":"13103612","score":null,"sort":[1493406032000]},"guestAuthors":[],"slug":"as-100-days-approaches-bay-area-creatives-share-tips-for-continuing-resistance","title":"As 100 Days Approaches, Bay Area Creatives Share Tips for Continuing Resistance","publishDate":1493406032,"format":"image","headTitle":"As 100 Days Approaches, Bay Area Creatives Share Tips for Continuing Resistance | KQED","labelTerm":{"site":"arts"},"content":"\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>\u003cspan style=\"font-weight: 400\">Over the past hundred days, KQED Arts has been \u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">tracking artistic responses to the Trump Administration\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Toward the end of that time period, I gathered a small group of creative people working at the front lines of the Bay Area’s artistic resistance — interdisciplinary artist and activist Favianna Rodriguez, spoken-word poet and playwright Marc Bamuthi Joseph, stand up comedian Dhaya Lakshminarayanan, and music impresario Jordan Kurland — for a conversation.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I wanted to know how their jobs had changed, and what strategies they had to keep placing culture at the heart of the ongoing struggle for things like civil rights and environmental justice.\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>“The role of artists is so critical, because we need to shift culture. And culture moves so much more quickly than politics. In fact, politics is the manifestation of an idea whose time has already come.” – Favianna Rodriguez\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-weight: 400\">What follows is an edited version of our discussion which took place before a live audience at\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003ca href=\"https://www.thebatterysf.com/\" target=\"_blank\" rel=\"noopener\">The Battery\u003c/a> in San Francisco on Thursday, Apr. 20.\u003c/span>\u003c/p>\n\u003cp>[audio src=\"http:www.kqed.org/.stream/anon/radio//2017/04/StateofPoliticalArtv.mp3\" title=\"State of Political Art\" program=\"100 Days\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Favianna-Rodriguez-Embracing-The-Velocity-Of-Change-cropped.jpg\"]\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\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio segment created in collaboration with The Battery, KQED producer Eli Wirtschafter and musician \u003ca href=\"http://soundcloud.com/robindupont\" target=\"_blank\" rel=\"noopener\">Robin DuPont\u003c/a>. Read more about Dupont’s song “He Will Not Divide Us” and listen to the full track \u003ca href=\"https://ww2.kqed.org/arts/2017/02/17/in-he-will-not-divide-us-immigration-issues-hit-robin-dupont-close-to-home/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Artist-activists Dhaya Lakshminarayanan, Marc Bamuthi Joseph, Jordan Kurland and Favianna Rodriguez -- chat with KQED's senior arts editor, Chloe Veltman, about art and politics.","status":"publish","parent":0,"modified":1705030813,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":261},"headData":{"title":"As 100 Days Approaches, Bay Area Creatives Share Tips for Continuing Resistance | KQED","description":"Artist-activists Dhaya Lakshminarayanan, Marc Bamuthi Joseph, Jordan Kurland and Favianna Rodriguez -- chat with KQED's senior arts editor, Chloe Veltman, about art and politics.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"As 100 Days Approaches, Bay Area Creatives Share Tips for Continuing Resistance","datePublished":"2017-04-28T19:00:32.000Z","dateModified":"2024-01-12T03:40:13.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestFields":"0","sticky":false,"path":"/arts/13103612/as-100-days-approaches-bay-area-creatives-share-tips-for-continuing-resistance","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\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>\u003cspan style=\"font-weight: 400\">Over the past hundred days, KQED Arts has been \u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">tracking artistic responses to the Trump Administration\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Toward the end of that time period, I gathered a small group of creative people working at the front lines of the Bay Area’s artistic resistance — interdisciplinary artist and activist Favianna Rodriguez, spoken-word poet and playwright Marc Bamuthi Joseph, stand up comedian Dhaya Lakshminarayanan, and music impresario Jordan Kurland — for a conversation.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I wanted to know how their jobs had changed, and what strategies they had to keep placing culture at the heart of the ongoing struggle for things like civil rights and environmental justice.\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>“The role of artists is so critical, because we need to shift culture. And culture moves so much more quickly than politics. In fact, politics is the manifestation of an idea whose time has already come.” – Favianna Rodriguez\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-weight: 400\">What follows is an edited version of our discussion which took place before a live audience at\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003ca href=\"https://www.thebatterysf.com/\" target=\"_blank\" rel=\"noopener\">The Battery\u003c/a> in San Francisco on Thursday, Apr. 20.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"src":"http:www.kqed.org/.stream/anon/radio//2017/04/StateofPoliticalArtv.mp3","title":"State of Political Art","program":"100 Days","image":"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Favianna-Rodriguez-Embracing-The-Velocity-Of-Change-cropped.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\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\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>\u003c/p>\n\u003cp>\u003cem>Audio segment created in collaboration with The Battery, KQED producer Eli Wirtschafter and musician \u003ca href=\"http://soundcloud.com/robindupont\" target=\"_blank\" rel=\"noopener\">Robin DuPont\u003c/a>. Read more about Dupont’s song “He Will Not Divide Us” and listen to the full track \u003ca href=\"https://ww2.kqed.org/arts/2017/02/17/in-he-will-not-divide-us-immigration-issues-hit-robin-dupont-close-to-home/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13103612/as-100-days-approaches-bay-area-creatives-share-tips-for-continuing-resistance","authors":["8608"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_1642","arts_1037","arts_1118","arts_596"],"featImg":"arts_13109157","label":"arts"},"arts_13102957":{"type":"posts","id":"arts_13102957","meta":{"index":"posts_1591205157","site":"arts","id":"13102957","score":null,"sort":[1493251239000]},"guestAuthors":[],"slug":"we-the-people-in-a-middle-school-classroom-in-san-francisco","title":"We, the People, in a Middle-School Classroom in San Francisco","publishDate":1493251239,"format":"standard","headTitle":"We, the People, in a Middle-School Classroom in San Francisco | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Inspired by the wide variety of \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"\" rel=\"noopener\">artistic responses\u003c/a> to the Trump administration in the Bay Area and beyond, visual arts instructor Caren Andrews this year challenged her middle school students at \u003ca href=\"http://www.sffriendsschool.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Friends School\u003c/a> to add their own voices to the nationwide conversation.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>“Our kids had an intuitive understanding of why we create art, whether it’s to add beauty to the world or reflect ourselves,” Andrews says. “But we found that they struggled with their connection to art and action.”\u003c/p>\n\u003cp>Andrews hoped to forge that connection by asking her students to interpret the U.S. Constitution. The teacher saw the 228-year-old document governing the law of the land and its people as being particularly vital in an era where civil rights are constantly up for debate.\u003c/p>\n\u003cp>Inspired by a 1960s Bill of Rights poster published by the American Civil Liberties Union (ACLU), Andrews’ students created their own set of posters examining constitutional amendments. Andrews also encouraged her students to respond through visual art to other political issues, such as the gender pay gap and abortion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Responses included a giant mouth representing the U.S.’s excessive consumption of global resources, and a person flailing off a treadmill as a way to represent the right to a speedy trial. But all are rooted in a deep reflection of the tangible relationship between this country’s laws and the students’ own lives.\u003c/p>\n\u003cfigure id=\"attachment_13103191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13103191\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/billie-lgbt-800x531.png\" alt='\"Raising the Flag on America\" by Billie Breskin.' width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-960x637.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-240x159.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-375x249.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-520x345.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt.png 1011w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Raising the Flag on America” by Billie Breskin. \u003ccite>(Courtesy of Caren Andrews)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eighth grader Billie Breskin re-purposed the iconic photograph “Raising the Flag on Iwo Jima” by replacing the stars and stripes in the famous wartime image with the rainbow colors of Gay Pride. Breskin hopes her poster will open up a discussion about gay marriage legislation in the U.S.\u003c/p>\n\u003cp>“Part of being American is protecting what’s back home,” Breskin says. “I wanted to do something truly patriotic, but present it in a way that includes the LGBT community.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BR_4YRpBAkn/\u003c/p>\n\u003cp>The poster project is part of a class Andrews teaches at the school, titled \u003cem>The Space Between: Art, Justice, and Action\u003c/em>. The class is aimed at finding active ways for students to question their roles both as artists and cultural consumers, especially in the era of fake news and the potential \u003ca href=\"http://www.npr.org/2017/03/16/520401246/trumps-budget-plan-cuts-funding-for-arts-humanities-and-public-media\" target=\"_blank\" rel=\"noopener\">de-funding of public arts programs\u003c/a>.\u003c/p>\n\u003cp>“I want them to be critical thinkers, to understand when they’re being pandered to and be discerning consumers,” Andrews says of the goals of the class. “In working with these young people, I feel like I’m developing the young artists-activists of tomorrow and today.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"At San Francisco Friends School, teacher Caren Andrews challenged her students to interpret the Constitution add their voices to the nationwide political conversation through poster art.","status":"publish","parent":0,"modified":1705030837,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":474},"headData":{"title":"We, the People, in a Middle-School Classroom in San Francisco | KQED","description":"At San Francisco Friends School, teacher Caren Andrews challenged her students to interpret the Constitution add their voices to the nationwide political conversation through poster art.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"We, the People, in a Middle-School Classroom in San Francisco","datePublished":"2017-04-27T00:00:39.000Z","dateModified":"2024-01-12T03:40:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13102957/we-the-people-in-a-middle-school-classroom-in-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inspired by the wide variety of \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"\" rel=\"noopener\">artistic responses\u003c/a> to the Trump administration in the Bay Area and beyond, visual arts instructor Caren Andrews this year challenged her middle school students at \u003ca href=\"http://www.sffriendsschool.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Friends School\u003c/a> to add their own voices to the nationwide conversation.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>“Our kids had an intuitive understanding of why we create art, whether it’s to add beauty to the world or reflect ourselves,” Andrews says. “But we found that they struggled with their connection to art and action.”\u003c/p>\n\u003cp>Andrews hoped to forge that connection by asking her students to interpret the U.S. Constitution. The teacher saw the 228-year-old document governing the law of the land and its people as being particularly vital in an era where civil rights are constantly up for debate.\u003c/p>\n\u003cp>Inspired by a 1960s Bill of Rights poster published by the American Civil Liberties Union (ACLU), Andrews’ students created their own set of posters examining constitutional amendments. Andrews also encouraged her students to respond through visual art to other political issues, such as the gender pay gap and abortion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>Responses included a giant mouth representing the U.S.’s excessive consumption of global resources, and a person flailing off a treadmill as a way to represent the right to a speedy trial. But all are rooted in a deep reflection of the tangible relationship between this country’s laws and the students’ own lives.\u003c/p>\n\u003cfigure id=\"attachment_13103191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13103191\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/billie-lgbt-800x531.png\" alt='\"Raising the Flag on America\" by Billie Breskin.' width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-960x637.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-240x159.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-375x249.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt-520x345.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/billie-lgbt.png 1011w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Raising the Flag on America” by Billie Breskin. \u003ccite>(Courtesy of Caren Andrews)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eighth grader Billie Breskin re-purposed the iconic photograph “Raising the Flag on Iwo Jima” by replacing the stars and stripes in the famous wartime image with the rainbow colors of Gay Pride. Breskin hopes her poster will open up a discussion about gay marriage legislation in the U.S.\u003c/p>\n\u003cp>“Part of being American is protecting what’s back home,” Breskin says. “I wanted to do something truly patriotic, but present it in a way that includes the LGBT community.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"BR_4YRpBAkn"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The poster project is part of a class Andrews teaches at the school, titled \u003cem>The Space Between: Art, Justice, and Action\u003c/em>. The class is aimed at finding active ways for students to question their roles both as artists and cultural consumers, especially in the era of fake news and the potential \u003ca href=\"http://www.npr.org/2017/03/16/520401246/trumps-budget-plan-cuts-funding-for-arts-humanities-and-public-media\" target=\"_blank\" rel=\"noopener\">de-funding of public arts programs\u003c/a>.\u003c/p>\n\u003cp>“I want them to be critical thinkers, to understand when they’re being pandered to and be discerning consumers,” Andrews says of the goals of the class. “In working with these young people, I feel like I’m developing the young artists-activists of tomorrow and today.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13102957/we-the-people-in-a-middle-school-classroom-in-san-francisco","authors":["11208"],"categories":["arts_70"],"tags":["arts_1642","arts_1119","arts_1118","arts_596"],"featImg":"arts_13103190","label":"arts"},"arts_13088814":{"type":"posts","id":"arts_13088814","meta":{"index":"posts_1591205157","site":"arts","id":"13088814","score":null,"sort":[1493218852000]},"guestAuthors":[],"slug":"obscure-french-opera-calls-trumps-leadership-skills-into-question","title":"Obscure French Opera Calls Trump's Leadership Skills into Question","publishDate":1493218852,"format":"standard","headTitle":"Obscure French Opera Calls Trump’s Leadership Skills into Question | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Opera has always been a means for voicing political dissent. Mozart’s \u003cem>The Marriage of Figaro\u003c/em> criticized the aristocracy. Verdi’s operas reflected on Italy’s struggle for independence. John Adams wrote a whole opera about Nixon’s 1972 visit to China.\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>Even a frilly Baroque opera-ballet like 18th century composer Jean-Philippe Rameau’s \u003cem>The Temple of Glory\u003c/em> (\u003cem>Le Temple de la Gloire\u003c/em>) uses history to weigh in on current events.\u003c/p>\n\u003cp>Nicholas McGegan is conducting the Bay Area’s \u003ca href=\"https://philharmonia.org/1617-season/rameau/\" target=\"_blank\" rel=\"noopener\">Philharmonia Baroque Orchestra and Chorale\u003c/a> in a rare production of the obscure French work in collaboration with \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/philharmonia-baroque-orchestra-rameau-le-temple-de-la-gloire.php\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> at the end of the month. “It’s really about what makes a good leader, which is topical,” McGegan says of the allegorical work’s particular relevance to U.S. audiences today.\u003c/p>\n\u003cfigure id=\"attachment_13088821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13088821 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-800x450.jpg\" alt=\"Nicholas McGegan and Soloists\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407.jpg 2027w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Conductor Nicholas McGegan with soloists for ‘The Temple of Glory.’ \u003ccite>(Photo: Philharmonia Baroque Orchestra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The satirical libretto, by Voltaire, follows what happens when a variety of different kings try to enter Apollo’s “Temple of Glory” — a bower for heroes guarded by the Muses. Two of the monarchs are barred for brutality and drunkenness. The third, Trajan, is allowed in for his generosity — he lets five conquered kings go — and insists on making the temple a bastion of inclusivity, “each rank, each sex, each age.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Supposedly, when Voltaire asked Louis XV “Is Trajan happy?” after the 1745 premiere, he was answered only with a chilling silence. “The opera was meant as a lesson in kingship,” McGegan says. “It is not enough to win battles; real heroes act a certain way. Unsurprisingly, the king did not enjoy being lectured on how to rule.”\u003c/p>\n\u003cp>The opera clearly cut too close for Louis XV. Though the monarch is known as “the well-loved,” his reign was riddled with financial crises, lost wars, fights with judges, and clashes between religions. Described as weak and adolescent, Louis XV was not much of a leader, spending much of his time chasing women and hunting. The French Revolution came only 15 years after his death.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rameau - Le Temple De La Gloire, Opéra-Ballet 1745\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/we6vxXQ9hwo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The opera was not a success and Rameau insisted on a rewrite of \u003cem>The Temple of Glory\u003c/em> less critical of leadership styles and more focused on love. Voltaire was ejected from the court and went on to write \u003cem>Candide\u003c/em>, perhaps his most politically incendiary work.\u003c/p>\n\u003cp>The Cal Performances production represents the first time modern audiences will get to experience the work in its original, unbowdlerized form. Those that attend the performances at Zellerbach Hall may see a parallel between the opera’s sly attempt to school the reigning monarch in the art of sensible leadership and John Oliver’s hilarious “Catheter Cowboy” ads aimed at educating President Donald Trump about everything from healthcare to sexual harassment.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XigGuGQkObo\u003c/p>\n\u003cp>The opera may also help put things into perspective when you consider the fact that Louis XV, with a temperament unsuited for leadership, reigned for more than 50 years. That certainly makes the next four to eight here feel a little more bearable, and belies the myth that everything was better in the past.\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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Temple of Glory’ runs Friday, Apr. 28–Sunday, Apr. 30 at Zellerbach Hall on the UC Berkeley campus. For tickets and information, click \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/philharmonia-baroque-orchestra-rameau-le-temple-de-la-gloire.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Jean-Philippe Rameau and Voltaire's allegorical work uses mythology to weigh in on current events—and the opera's original version is getting its first full production since 1745, in Berkeley.","status":"publish","parent":0,"modified":1705030847,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":581},"headData":{"title":"Obscure French Opera Calls Trump's Leadership Skills into Question | KQED","description":"Jean-Philippe Rameau and Voltaire's allegorical work uses mythology to weigh in on current events—and the opera's original version is getting its first full production since 1745, in Berkeley.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Obscure French Opera Calls Trump's Leadership Skills into Question","datePublished":"2017-04-26T15:00:52.000Z","dateModified":"2024-01-12T03:40:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13088814/obscure-french-opera-calls-trumps-leadership-skills-into-question","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera has always been a means for voicing political dissent. Mozart’s \u003cem>The Marriage of Figaro\u003c/em> criticized the aristocracy. Verdi’s operas reflected on Italy’s struggle for independence. John Adams wrote a whole opera about Nixon’s 1972 visit to China.\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>Even a frilly Baroque opera-ballet like 18th century composer Jean-Philippe Rameau’s \u003cem>The Temple of Glory\u003c/em> (\u003cem>Le Temple de la Gloire\u003c/em>) uses history to weigh in on current events.\u003c/p>\n\u003cp>Nicholas McGegan is conducting the Bay Area’s \u003ca href=\"https://philharmonia.org/1617-season/rameau/\" target=\"_blank\" rel=\"noopener\">Philharmonia Baroque Orchestra and Chorale\u003c/a> in a rare production of the obscure French work in collaboration with \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/philharmonia-baroque-orchestra-rameau-le-temple-de-la-gloire.php\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> at the end of the month. “It’s really about what makes a good leader, which is topical,” McGegan says of the allegorical work’s particular relevance to U.S. audiences today.\u003c/p>\n\u003cfigure id=\"attachment_13088821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13088821 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-800x450.jpg\" alt=\"Nicholas McGegan and Soloists\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Rameau-soloists-with-Nicholas-McGegan-e1492815244407.jpg 2027w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Conductor Nicholas McGegan with soloists for ‘The Temple of Glory.’ \u003ccite>(Photo: Philharmonia Baroque Orchestra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The satirical libretto, by Voltaire, follows what happens when a variety of different kings try to enter Apollo’s “Temple of Glory” — a bower for heroes guarded by the Muses. Two of the monarchs are barred for brutality and drunkenness. The third, Trajan, is allowed in for his generosity — he lets five conquered kings go — and insists on making the temple a bastion of inclusivity, “each rank, each sex, each age.”\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>Supposedly, when Voltaire asked Louis XV “Is Trajan happy?” after the 1745 premiere, he was answered only with a chilling silence. “The opera was meant as a lesson in kingship,” McGegan says. “It is not enough to win battles; real heroes act a certain way. Unsurprisingly, the king did not enjoy being lectured on how to rule.”\u003c/p>\n\u003cp>The opera clearly cut too close for Louis XV. Though the monarch is known as “the well-loved,” his reign was riddled with financial crises, lost wars, fights with judges, and clashes between religions. Described as weak and adolescent, Louis XV was not much of a leader, spending much of his time chasing women and hunting. The French Revolution came only 15 years after his death.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rameau - Le Temple De La Gloire, Opéra-Ballet 1745\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/we6vxXQ9hwo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The opera was not a success and Rameau insisted on a rewrite of \u003cem>The Temple of Glory\u003c/em> less critical of leadership styles and more focused on love. Voltaire was ejected from the court and went on to write \u003cem>Candide\u003c/em>, perhaps his most politically incendiary work.\u003c/p>\n\u003cp>The Cal Performances production represents the first time modern audiences will get to experience the work in its original, unbowdlerized form. Those that attend the performances at Zellerbach Hall may see a parallel between the opera’s sly attempt to school the reigning monarch in the art of sensible leadership and John Oliver’s hilarious “Catheter Cowboy” ads aimed at educating President Donald Trump about everything from healthcare to sexual harassment.\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/XigGuGQkObo'\n title='//www.youtube.com/embed/XigGuGQkObo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The opera may also help put things into perspective when you consider the fact that Louis XV, with a temperament unsuited for leadership, reigned for more than 50 years. That certainly makes the next four to eight here feel a little more bearable, and belies the myth that everything was better in the past.\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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Temple of Glory’ runs Friday, Apr. 28–Sunday, Apr. 30 at Zellerbach Hall on the UC Berkeley campus. For tickets and information, click \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/philharmonia-baroque-orchestra-rameau-le-temple-de-la-gloire.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13088814/obscure-french-opera-calls-trumps-leadership-skills-into-question","authors":["8660"],"categories":["arts_966","arts_69","arts_967"],"tags":["arts_1642","arts_1119","arts_1118","arts_596"],"featImg":"arts_13089466","label":"arts"},"arts_13083142":{"type":"posts","id":"arts_13083142","meta":{"index":"posts_1591205157","site":"arts","id":"13083142","score":null,"sort":[1493132453000]},"guestAuthors":[],"slug":"pro-trump-artist-jon-proby-takes-a-stand-in-oakland","title":"Pro-Trump Artist Jon Proby Takes a Stand in Oakland","publishDate":1493132453,"format":"image","headTitle":"Pro-Trump Artist Jon Proby Takes a Stand in Oakland | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Oakland is a tough place to be a right-wing artist, but \u003ca href=\"http://jonproby.com/\" target=\"_blank\" rel=\"noopener\">Jon Proby\u003c/a> lives and works there just the same.\u003c/p>\n\u003cp>The hell-raising painter incorporates symbols like the Christian cross, the American flag, and \u003ca href=\"https://www.adl.org/education/references/hate-symbols/pepe-the-frog\" target=\"_blank\" rel=\"noopener\">Pepe the Frog\u003c/a> (a symbol closely associated with the White Supremacist movement) as well as Tarot-card style iconography into his works to send out pull-no-punches political messages about everything from civil rights to Barack Obama.\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>Recently, Proby’s canvases were part of the controversial, pro-Trump \u003cem>\u003cstrong>\u003ca href=\"http://www.daddywillsaveus.com/\" target=\"_blank\" rel=\"noopener\">#DaddyWillSaveUs\u003c/a>\u003c/strong>\u003c/em> art exhibition in New York City, where he presented his paintings alongside such attention-grabbing works as provocateur Milo Yiannopoulos’ performance art stunt involving pig’s blood and a bathtub.\u003c/p>\n\u003cp>KQED reached out to Proby to find out about the underpinnings of his process and political message, as well as hear about what it’s like to be a right-wing artist in left-leaning Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>You were born and raised in Los Angeles and now live in Oakland.\u003c/strong>\u003cbr>\n\u003cstrong> How has living in the state of California informed your work as a\u003c/strong>\u003cbr>\n\u003cstrong> political artist over the years?\u003c/strong>\u003c/p>\n\u003cp>I used to be a liberal because that’s just what happens when you are\u003cbr>\nraised in a black ghetto in a leftist stronghold. As I’ve grown as an\u003cbr>\nindividual, I’ve drifted further to the right. The intensely leftist nature of California city life has re-enforced my contrarian position.\u003c/p>\n\u003cp>\u003cstrong>Tell us about your creative process.\u003c/strong>\u003c/p>\n\u003cp>I chose painting because I’m a one man show. It’s the best\u003cbr>\nand quickest way to communicate my philosophy while showing the world that that the left doesn’t have exclusive rights to the art world.\u003c/p>\n\u003cfigure id=\"attachment_13084208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13084208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-800x927.jpg\" alt=\"Jon Proby's painting 'For the Time Being' makes use of Tarot-like symbols. Of this work, the artist says: "Death, the ultimate limitation for the mortal. As we traverse this realm seemingly defined by the material, it is the symbolic which truly defines the mechanisms of Creation. The many faces of Chronos makes his harsh rule known."\" width=\"800\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-800x927.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-768x890.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-1020x1181.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-1920x2224.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-1180x1367.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-960x1112.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-240x278.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-375x434.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-520x602.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot.jpg 1768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Proby’s painting ‘For the Time Being’ makes use of Tarot-like symbols. \u003ccite>(Photo: Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My goal is to communicate to the audience through symbolism. Sometimes that means Tarot-like compositions that speak on a specific theme. Sometimes its a portrait that is framed in a way that translates my sentiment about a specific person. I build my own frames and I stretch my own canvas. I prep each canvas with gesso (a substance artists use to prime their canvases before painting on them) and I draw directly on the canvas with Conté crayons before I apply paint. For now, as I grow with the medium, it’s more of an illustrative process than a painterly one. It can take two weeks to two months to finish a piece depending on its complexity.\u003c/p>\n\u003cp>\u003cstrong>How did you learn to be an artist? \u003c/strong>\u003c/p>\n\u003cp>I’ve been making art on my own since I’ve been a young child. I\u003cbr>\nattended Los Angeles County High School for the Arts, spent two years at an arts college and also undertook independent study in private and community college classes focused primarily on figure drawing.\u003c/p>\n\u003cp>\u003cstrong>There are lots of symbols in your work, including religious\u003c/strong>\u003cbr>\n\u003cstrong> iconography (e.g. the cross), the American flag, and the scales of\u003c/strong>\u003cbr>\n\u003cstrong> justice. What role do these symbols play?\u003c/strong>\u003c/p>\n\u003cp>I view the world as a waking dream that we will one day wake up from on the day of our deaths. As such, the world is a living matrix of\u003cbr>\nsymbols that affect both our conscious and sub-conscious minds.\u003c/p>\n\u003cfigure id=\"attachment_13084210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13084210\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-800x1015.jpg\" alt=\"Jon Proby's portrait of James O'Keefe. Of his subject, the artist states: "The vanguard of undercover journalism and the sword of the new fourth estate."\" width=\"800\" height=\"1015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-800x1015.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-1020x1294.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-1180x1497.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-960x1218.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final.jpg 1435w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Proby’s portrait of James O’Keefe. Of his subject, the artist states: “The vanguard of undercover journalism and the sword of the new fourth estate.” \u003ccite>(Photo: Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thus I intentionally imbue my work with the symbols that I see as being most relevant to our place in western civilization, whether the subject matter is dark or light. Symbols are power.\u003c/p>\n\u003cp>\u003cstrong>What was your main takeaway from \u003cem>\u003ca href=\"http://www.daddywillsaveus.com/\" target=\"_blank\" rel=\"noopener\">#DaddyWillSaveUs\u003c/a>\u003c/em>, the\u003c/strong>\u003cbr>\n\u003cstrong> controversial, pro-Trump art show that opened last fall in New \u003c/strong>\u003cstrong>York in which you participated?\u003c/strong>\u003c/p>\n\u003cp>I was able to mingle and network it a large crowd of like minds, which is something I’d never experienced before. But it was also illuminating as to how biased against the right the media is, because nearly no news outlet that covered the show featured my work or my words; my work would have legitimized the idea that right wing fine art is a reality in America.\u003c/p>\n\u003cp>\u003cstrong>You live in a state where Democrats win a lot of elections. To what\u003c/strong>\u003cbr>\n\u003cstrong> extent have you had to deal with enraged feedback? Have you ever felt persecuted?\u003c/strong>\u003c/p>\n\u003cp>There is no room in this state for being open about my political and\u003cbr>\nspiritual beliefs. I’ve lost many friends and I know how much\u003cbr>\ndiscrimination there is both within the art world and without in California, so I don’t even bother. My avenues to exposure are exclusively online and on social media.\u003c/p>\n\u003cp>\u003cstrong>Does it feel immediately different creating artworks that are in\u003c/strong>\u003cbr>\n\u003cstrong> support of the ruling/winning party, after eight years of having a\u003c/strong>\u003cbr>\n\u003cstrong> clear-cut target in the Obama Administration?\u003c/strong>\u003c/p>\n\u003cp>Its only different in the sense that there is finally an administration that I can support for the first time in my life. Other than that, my goals remain the same: communicate the truth through symbols, and no one is above my critique. If Trump drifts too far off course, he will be the subject of heavy artistic criticism just as Obama was.\u003c/p>\n\u003cp>\u003cstrong>Who are the artists you most admire and why?\u003c/strong>\u003c/p>\n\u003cp>I admire \u003ca href=\"http://grrrgraphics.com/index.html\" target=\"_blank\" rel=\"noopener\">Ben Garrison\u003c/a> the cartoonist for his work ethic and commitment to principles even in the face of persecution. He will go down in history as one the most influential political artists of the modern era.\u003c/p>\n\u003cp>\u003cstrong>What is your goal as an artist? To what extent are you hoping to\u003c/strong>\u003cbr>\n\u003cstrong> change people’s minds with your work versus rallying those who share your opinions?\u003c/strong>\u003c/p>\n\u003cp>My goal is to carve inroads into the fine art world which has been\u003cbr>\ndominated for decades by leftist Post-Modernists that have sullied a\u003cbr>\nlauded western tradition of high culture with ugliness and sophistry\u003cbr>\nand shift the cultural \u003ca href=\"https://en.wikipedia.org/wiki/Overton_window\" target=\"_blank\" rel=\"noopener\">Overton window\u003c/a> back into a place where artistic significance will not be exclusively defined by leftist cultural\u003cbr>\nauthoritarians.\u003c/p>\n\u003cfigure id=\"attachment_13084215\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13084215\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Great-Again-800x1251.jpg\" alt=\"Jon Proby's painting titled 'Great Again.' \" width=\"800\" height=\"1251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-800x1251.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-768x1201.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-1020x1595.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-1920x3003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-1180x1846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-960x1501.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-240x375.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-375x587.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-520x813.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again.jpg 1309w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Proby’s painting titled ‘Great Again.’ \u003ccite>(Photo: Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>We’re close to 100 days into the Trump presidency. Is there a\u003c/strong>\u003cbr>\n\u003cstrong> painting of yours that you think most effectively captures the spirit\u003c/strong>\u003cbr>\n\u003cstrong> of the past 100 days? Why?\u003c/strong>\u003c/p>\n\u003cp>My piece “Great Again” captures the victory that the right has had\u003cbr>\nwith Trump’s ascendancy to power. The painting shows Trump holding up Lady Liberty’s hand and her giving the thumbs up. This is a nice counterbalance to the imagery the mainstream media has littered the public with, such as showing Trump turning Liberty on its head, or in the case of the German publication \u003cem>Der \u003c/em>\u003cem>Spiegel, \u003c/em>showing Trump beheading Liberty. The presence in the painting of Kek Lord of Chaos and Jesus Christ provides the dualistic spiritual\u003cbr>\nside of the equation.\u003c/p>\n\u003cp>\u003cstrong>What’s next for you? \u003c/strong>\u003c/p>\n\u003cp>I have a couple more major paintings planned. But as I’m a struggling\u003cbr>\nartist, every piece I do has to come as I am able to afford the\u003cbr>\nmaterials. I’ll have to see what happens.\u003c/p>\n\u003cp>[ad floatright]\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":"The hell-raising artist's use of hard-hitting symbols and iconography won him a place on the wall at a controversial, right-wing art exhibition last fall in New York City.","status":"publish","parent":0,"modified":1705030860,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1233},"headData":{"title":"Pro-Trump Artist Jon Proby Takes a Stand in Oakland | KQED","description":"The hell-raising artist's use of hard-hitting symbols and iconography won him a place on the wall at a controversial, right-wing art exhibition last fall in New York City.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Pro-Trump Artist Jon Proby Takes a Stand in Oakland","datePublished":"2017-04-25T15:00:53.000Z","dateModified":"2024-01-12T03:41:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13083142/pro-trump-artist-jon-proby-takes-a-stand-in-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland is a tough place to be a right-wing artist, but \u003ca href=\"http://jonproby.com/\" target=\"_blank\" rel=\"noopener\">Jon Proby\u003c/a> lives and works there just the same.\u003c/p>\n\u003cp>The hell-raising painter incorporates symbols like the Christian cross, the American flag, and \u003ca href=\"https://www.adl.org/education/references/hate-symbols/pepe-the-frog\" target=\"_blank\" rel=\"noopener\">Pepe the Frog\u003c/a> (a symbol closely associated with the White Supremacist movement) as well as Tarot-card style iconography into his works to send out pull-no-punches political messages about everything from civil rights to Barack Obama.\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>Recently, Proby’s canvases were part of the controversial, pro-Trump \u003cem>\u003cstrong>\u003ca href=\"http://www.daddywillsaveus.com/\" target=\"_blank\" rel=\"noopener\">#DaddyWillSaveUs\u003c/a>\u003c/strong>\u003c/em> art exhibition in New York City, where he presented his paintings alongside such attention-grabbing works as provocateur Milo Yiannopoulos’ performance art stunt involving pig’s blood and a bathtub.\u003c/p>\n\u003cp>KQED reached out to Proby to find out about the underpinnings of his process and political message, as well as hear about what it’s like to be a right-wing artist in left-leaning Oakland.\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>\u003cstrong>You were born and raised in Los Angeles and now live in Oakland.\u003c/strong>\u003cbr>\n\u003cstrong> How has living in the state of California informed your work as a\u003c/strong>\u003cbr>\n\u003cstrong> political artist over the years?\u003c/strong>\u003c/p>\n\u003cp>I used to be a liberal because that’s just what happens when you are\u003cbr>\nraised in a black ghetto in a leftist stronghold. As I’ve grown as an\u003cbr>\nindividual, I’ve drifted further to the right. The intensely leftist nature of California city life has re-enforced my contrarian position.\u003c/p>\n\u003cp>\u003cstrong>Tell us about your creative process.\u003c/strong>\u003c/p>\n\u003cp>I chose painting because I’m a one man show. It’s the best\u003cbr>\nand quickest way to communicate my philosophy while showing the world that that the left doesn’t have exclusive rights to the art world.\u003c/p>\n\u003cfigure id=\"attachment_13084208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13084208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-800x927.jpg\" alt=\"Jon Proby's painting 'For the Time Being' makes use of Tarot-like symbols. Of this work, the artist says: "Death, the ultimate limitation for the mortal. As we traverse this realm seemingly defined by the material, it is the symbolic which truly defines the mechanisms of Creation. The many faces of Chronos makes his harsh rule known."\" width=\"800\" height=\"927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-800x927.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-768x890.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-1020x1181.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-1920x2224.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-1180x1367.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-960x1112.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-240x278.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-375x434.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot-520x602.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/For-the-Time-Being-Promo-shot.jpg 1768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Proby’s painting ‘For the Time Being’ makes use of Tarot-like symbols. \u003ccite>(Photo: Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My goal is to communicate to the audience through symbolism. Sometimes that means Tarot-like compositions that speak on a specific theme. Sometimes its a portrait that is framed in a way that translates my sentiment about a specific person. I build my own frames and I stretch my own canvas. I prep each canvas with gesso (a substance artists use to prime their canvases before painting on them) and I draw directly on the canvas with Conté crayons before I apply paint. For now, as I grow with the medium, it’s more of an illustrative process than a painterly one. It can take two weeks to two months to finish a piece depending on its complexity.\u003c/p>\n\u003cp>\u003cstrong>How did you learn to be an artist? \u003c/strong>\u003c/p>\n\u003cp>I’ve been making art on my own since I’ve been a young child. I\u003cbr>\nattended Los Angeles County High School for the Arts, spent two years at an arts college and also undertook independent study in private and community college classes focused primarily on figure drawing.\u003c/p>\n\u003cp>\u003cstrong>There are lots of symbols in your work, including religious\u003c/strong>\u003cbr>\n\u003cstrong> iconography (e.g. the cross), the American flag, and the scales of\u003c/strong>\u003cbr>\n\u003cstrong> justice. What role do these symbols play?\u003c/strong>\u003c/p>\n\u003cp>I view the world as a waking dream that we will one day wake up from on the day of our deaths. As such, the world is a living matrix of\u003cbr>\nsymbols that affect both our conscious and sub-conscious minds.\u003c/p>\n\u003cfigure id=\"attachment_13084210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13084210\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-800x1015.jpg\" alt=\"Jon Proby's portrait of James O'Keefe. Of his subject, the artist states: "The vanguard of undercover journalism and the sword of the new fourth estate."\" width=\"800\" height=\"1015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-800x1015.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-1020x1294.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-1180x1497.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-960x1218.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-375x476.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final-520x660.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/James-OKeefe-portrait-final.jpg 1435w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Proby’s portrait of James O’Keefe. Of his subject, the artist states: “The vanguard of undercover journalism and the sword of the new fourth estate.” \u003ccite>(Photo: Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thus I intentionally imbue my work with the symbols that I see as being most relevant to our place in western civilization, whether the subject matter is dark or light. Symbols are power.\u003c/p>\n\u003cp>\u003cstrong>What was your main takeaway from \u003cem>\u003ca href=\"http://www.daddywillsaveus.com/\" target=\"_blank\" rel=\"noopener\">#DaddyWillSaveUs\u003c/a>\u003c/em>, the\u003c/strong>\u003cbr>\n\u003cstrong> controversial, pro-Trump art show that opened last fall in New \u003c/strong>\u003cstrong>York in which you participated?\u003c/strong>\u003c/p>\n\u003cp>I was able to mingle and network it a large crowd of like minds, which is something I’d never experienced before. But it was also illuminating as to how biased against the right the media is, because nearly no news outlet that covered the show featured my work or my words; my work would have legitimized the idea that right wing fine art is a reality in America.\u003c/p>\n\u003cp>\u003cstrong>You live in a state where Democrats win a lot of elections. To what\u003c/strong>\u003cbr>\n\u003cstrong> extent have you had to deal with enraged feedback? Have you ever felt persecuted?\u003c/strong>\u003c/p>\n\u003cp>There is no room in this state for being open about my political and\u003cbr>\nspiritual beliefs. I’ve lost many friends and I know how much\u003cbr>\ndiscrimination there is both within the art world and without in California, so I don’t even bother. My avenues to exposure are exclusively online and on social media.\u003c/p>\n\u003cp>\u003cstrong>Does it feel immediately different creating artworks that are in\u003c/strong>\u003cbr>\n\u003cstrong> support of the ruling/winning party, after eight years of having a\u003c/strong>\u003cbr>\n\u003cstrong> clear-cut target in the Obama Administration?\u003c/strong>\u003c/p>\n\u003cp>Its only different in the sense that there is finally an administration that I can support for the first time in my life. Other than that, my goals remain the same: communicate the truth through symbols, and no one is above my critique. If Trump drifts too far off course, he will be the subject of heavy artistic criticism just as Obama was.\u003c/p>\n\u003cp>\u003cstrong>Who are the artists you most admire and why?\u003c/strong>\u003c/p>\n\u003cp>I admire \u003ca href=\"http://grrrgraphics.com/index.html\" target=\"_blank\" rel=\"noopener\">Ben Garrison\u003c/a> the cartoonist for his work ethic and commitment to principles even in the face of persecution. He will go down in history as one the most influential political artists of the modern era.\u003c/p>\n\u003cp>\u003cstrong>What is your goal as an artist? To what extent are you hoping to\u003c/strong>\u003cbr>\n\u003cstrong> change people’s minds with your work versus rallying those who share your opinions?\u003c/strong>\u003c/p>\n\u003cp>My goal is to carve inroads into the fine art world which has been\u003cbr>\ndominated for decades by leftist Post-Modernists that have sullied a\u003cbr>\nlauded western tradition of high culture with ugliness and sophistry\u003cbr>\nand shift the cultural \u003ca href=\"https://en.wikipedia.org/wiki/Overton_window\" target=\"_blank\" rel=\"noopener\">Overton window\u003c/a> back into a place where artistic significance will not be exclusively defined by leftist cultural\u003cbr>\nauthoritarians.\u003c/p>\n\u003cfigure id=\"attachment_13084215\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13084215\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Great-Again-800x1251.jpg\" alt=\"Jon Proby's painting titled 'Great Again.' \" width=\"800\" height=\"1251\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-800x1251.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-160x250.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-768x1201.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-1020x1595.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-1920x3003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-1180x1846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-960x1501.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-240x375.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-375x587.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again-520x813.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Great-Again.jpg 1309w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Proby’s painting titled ‘Great Again.’ \u003ccite>(Photo: Courtesy of Jon Proby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>We’re close to 100 days into the Trump presidency. Is there a\u003c/strong>\u003cbr>\n\u003cstrong> painting of yours that you think most effectively captures the spirit\u003c/strong>\u003cbr>\n\u003cstrong> of the past 100 days? Why?\u003c/strong>\u003c/p>\n\u003cp>My piece “Great Again” captures the victory that the right has had\u003cbr>\nwith Trump’s ascendancy to power. The painting shows Trump holding up Lady Liberty’s hand and her giving the thumbs up. This is a nice counterbalance to the imagery the mainstream media has littered the public with, such as showing Trump turning Liberty on its head, or in the case of the German publication \u003cem>Der \u003c/em>\u003cem>Spiegel, \u003c/em>showing Trump beheading Liberty. The presence in the painting of Kek Lord of Chaos and Jesus Christ provides the dualistic spiritual\u003cbr>\nside of the equation.\u003c/p>\n\u003cp>\u003cstrong>What’s next for you? \u003c/strong>\u003c/p>\n\u003cp>I have a couple more major paintings planned. But as I’m a struggling\u003cbr>\nartist, every piece I do has to come as I am able to afford the\u003cbr>\nmaterials. I’ll have to see what happens.\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>\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/13083142/pro-trump-artist-jon-proby-takes-a-stand-in-oakland","authors":["8608"],"categories":["arts_70"],"tags":["arts_1642","arts_1118","arts_596","arts_989"],"featImg":"arts_13084205","label":"arts"},"arts_13008658":{"type":"posts","id":"arts_13008658","meta":{"index":"posts_1591205157","site":"arts","id":"13008658","score":null,"sort":[1493060415000]},"guestAuthors":[],"slug":"fabricating-truth-one-tin-can-bracelet-at-a-time","title":"Fabricating 'Truth,' One Tin Can Bracelet at a Time","publishDate":1493060415,"format":"standard","headTitle":"Fabricating ‘Truth,’ One Tin Can Bracelet at a Time | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In the process of creating a new piece for her recycled fruit crate label series entitled \u003ca href=\"http://harrieteestelberman.com/truth-california-collection\" target=\"_blank\" rel=\"noopener\">\u003cem>The California Collection\u003c/em>\u003c/a>, San Mateo artist \u003ca href=\"http://harrieteestelberman.com/\" target=\"blank\" rel=\"noopener\">Harriete Estel Berman\u003c/a> found herself drawn to a simply-designed 1930s Sunkist label.\u003c/p>\n\u003cp>Most historic fruit crate labels were typically embellished with images and illustrations that marketed their wares. But the Sunkist label just read “truth,” in a striking golden font.\u003c/p>\n\u003cfigure id=\"attachment_13008673\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13008673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label.jpg\" alt=\"The 1930 Gavilan Citrus Association's "Truth" fruit crate label which inspired Berman's project.\" width=\"500\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-240x222.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-375x347.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">The 1930 Gavilan Citrus Association’s “Truth” fruit crate label which inspired Berman’s project. \u003ccite>(Courtesy of Harriete Estel Berman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In a time when truth was a terribly powerful concept, I felt like it needed nothing else, so I put it away,” Berman says. “But three years later, after the election with 45 — President Donald Trump — we’re faced with this new reality which seems to get worse all the time.” She says the Trump administration’s cries of “\u003ca href=\"http://www.kqed.org/news/story/2017/02/17/226641/with_fake_news_trump_moves_from_alternative_facts_to?source=npr&category=politics\" target=\"_blank\" rel=\"noopener\">fake news\u003c/a>” and alternative facts have made her realize truth was not quite as absolute as she thought it once was.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For the past three decades, Berman has created recycled sculptures and jewelry imbued with critical commentary on everything from \u003ca href=\"http://harrieteestelberman.com/checking-the-cost-of-gun-violence\" target=\"_blank\" rel=\"noopener\">gun violence\u003c/a> to the \u003ca href=\"http://harrieteestelberman.com/identity-bracelets-1\" target=\"_blank\" rel=\"noopener\">creation of identity\u003c/a> within consumer society. \u003cspan style=\"font-weight: 400\">Her \u003cem>California Collection\u003c/em> jewelry series re-purposes fruit crate labels and tin cans to create accessories that reflect on California’s simultaneously consumerist and green culture. Her creative output includes circuit board bracelets inspired by Silicon Valley’s flourishing tech industry and recycled milk bottles transformed into delicately textured jewelry.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in \u003cem>\u003ca href=\"http://harrieteestelberman.com/truth-california-collection\" target=\"_blank\" rel=\"noopener\">Truth\u003c/a>\u003c/em>, the latest addition to her \u003cem>California Collection\u003c/em> series, Berman confronts the current administration’s destabilization of the idea of “truth” \u003cspan style=\"font-weight: 400\">and examines our own responsibility in this new moral climate. \u003c/span>“I’m looking at this word ‘truth’ and I’m here actually, literally fabricating truth – the same way the administration is,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13008674\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13008674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio-.jpg\" alt=\"Harriete in the studio. \" width=\"300\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio-.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio--160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio--240x360.jpg 240w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Harriete in the studio. \u003ccite>(Photo: Aryn Shelander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berman is currently in the process of creating two jewelry pieces that explore the roots of Trump’s current agenda against truth, respectively named \u003cem>Alternative Facts\u003c/em> and \u003cem>Circular Logic. \u003c/em>She spares no symbolism in the construction of each bracelet: \u003cem>Alternative Facts\u003c/em> is formed around a web-like structure echoing the administration’s recent \u003ca href=\"https://ww2.kqed.org/news/2017/03/20/fbi-chief-confirms-agency-is-probing-links-between-russia-trump-associates/\" target=\"_blank\" rel=\"noopener\">web of alleged collusion\u003c/a> with Russia; the face of the bracelet itself is printed with nutritional facts, which Berman considers another instance of “alternative facts” that we experience in our daily lives.\u003c/p>\n\u003cp>Berman’s decades of overtly political work are informed by the historically activist history of jewelry. The artist has taken notes from the patriotic “V for Victory” brooch that was popular during World War II, and peace sign jewelry protesting American involvement in the Vietnam war. Berman believes artists are messengers of a society, as their works are in direct conversation with the values and politics of the current culture.\u003c/p>\n\u003cfigure id=\"attachment_13008675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13008675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-800x450.jpg\" alt='The \"Alternative Facts\" bracelet in progress.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Alternative Facts” bracelet in progress. \u003ccite>(Courtesy of Harriete Estel Berman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">We generally look at past civilizations through their art, from cave paintings to jewelry found at burial sites,” she says.\u003c/span>\u003cb> “\u003c/b>It’s how we evaluate their culture. It’s the most concrete voice that we have.”\u003c/p>\n\u003cp>Berman channels her reflections on politics through making jewelry. But she says the responsibility lies not only on the shoulders of artists to create work that responds to and resists the actions of the current administration.\u003c/p>\n\u003cp>“E\u003cb>\u003cspan style=\"font-weight: 400\">verything is in such an upheaval, and our elected representatives need the support of their constituents,” Berman says. “\u003c/span>\u003c/b>W\u003cb>\u003cspan style=\"font-weight: 400\">e can no longer assume that our government is going to run consistently and fairly without our voice. So you must do anything you can do to raise your voice.”\u003c/span>\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Harriet Berman's jewelry confronts the current administration’s destabilization of the idea of truth.","status":"publish","parent":0,"modified":1705030868,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":653},"headData":{"title":"Fabricating 'Truth,' One Tin Can Bracelet at a Time | KQED","description":"Harriet Berman's jewelry confronts the current administration’s destabilization of the idea of truth.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Fabricating 'Truth,' One Tin Can Bracelet at a Time","datePublished":"2017-04-24T19:00:15.000Z","dateModified":"2024-01-12T03:41:08.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13008658/fabricating-truth-one-tin-can-bracelet-at-a-time","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the process of creating a new piece for her recycled fruit crate label series entitled \u003ca href=\"http://harrieteestelberman.com/truth-california-collection\" target=\"_blank\" rel=\"noopener\">\u003cem>The California Collection\u003c/em>\u003c/a>, San Mateo artist \u003ca href=\"http://harrieteestelberman.com/\" target=\"blank\" rel=\"noopener\">Harriete Estel Berman\u003c/a> found herself drawn to a simply-designed 1930s Sunkist label.\u003c/p>\n\u003cp>Most historic fruit crate labels were typically embellished with images and illustrations that marketed their wares. But the Sunkist label just read “truth,” in a striking golden font.\u003c/p>\n\u003cfigure id=\"attachment_13008673\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13008673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label.jpg\" alt=\"The 1930 Gavilan Citrus Association's "Truth" fruit crate label which inspired Berman's project.\" width=\"500\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-240x222.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/trust-fruit-crate-label-375x347.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">The 1930 Gavilan Citrus Association’s “Truth” fruit crate label which inspired Berman’s project. \u003ccite>(Courtesy of Harriete Estel Berman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In a time when truth was a terribly powerful concept, I felt like it needed nothing else, so I put it away,” Berman says. “But three years later, after the election with 45 — President Donald Trump — we’re faced with this new reality which seems to get worse all the time.” She says the Trump administration’s cries of “\u003ca href=\"http://www.kqed.org/news/story/2017/02/17/226641/with_fake_news_trump_moves_from_alternative_facts_to?source=npr&category=politics\" target=\"_blank\" rel=\"noopener\">fake news\u003c/a>” and alternative facts have made her realize truth was not quite as absolute as she thought it once was.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>For the past three decades, Berman has created recycled sculptures and jewelry imbued with critical commentary on everything from \u003ca href=\"http://harrieteestelberman.com/checking-the-cost-of-gun-violence\" target=\"_blank\" rel=\"noopener\">gun violence\u003c/a> to the \u003ca href=\"http://harrieteestelberman.com/identity-bracelets-1\" target=\"_blank\" rel=\"noopener\">creation of identity\u003c/a> within consumer society. \u003cspan style=\"font-weight: 400\">Her \u003cem>California Collection\u003c/em> jewelry series re-purposes fruit crate labels and tin cans to create accessories that reflect on California’s simultaneously consumerist and green culture. Her creative output includes circuit board bracelets inspired by Silicon Valley’s flourishing tech industry and recycled milk bottles transformed into delicately textured jewelry.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>But in \u003cem>\u003ca href=\"http://harrieteestelberman.com/truth-california-collection\" target=\"_blank\" rel=\"noopener\">Truth\u003c/a>\u003c/em>, the latest addition to her \u003cem>California Collection\u003c/em> series, Berman confronts the current administration’s destabilization of the idea of “truth” \u003cspan style=\"font-weight: 400\">and examines our own responsibility in this new moral climate. \u003c/span>“I’m looking at this word ‘truth’ and I’m here actually, literally fabricating truth – the same way the administration is,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13008674\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13008674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio-.jpg\" alt=\"Harriete in the studio. \" width=\"300\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio-.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio--160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/HarrieteEstelBermaninthestudio--240x360.jpg 240w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Harriete in the studio. \u003ccite>(Photo: Aryn Shelander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berman is currently in the process of creating two jewelry pieces that explore the roots of Trump’s current agenda against truth, respectively named \u003cem>Alternative Facts\u003c/em> and \u003cem>Circular Logic. \u003c/em>She spares no symbolism in the construction of each bracelet: \u003cem>Alternative Facts\u003c/em> is formed around a web-like structure echoing the administration’s recent \u003ca href=\"https://ww2.kqed.org/news/2017/03/20/fbi-chief-confirms-agency-is-probing-links-between-russia-trump-associates/\" target=\"_blank\" rel=\"noopener\">web of alleged collusion\u003c/a> with Russia; the face of the bracelet itself is printed with nutritional facts, which Berman considers another instance of “alternative facts” that we experience in our daily lives.\u003c/p>\n\u003cp>Berman’s decades of overtly political work are informed by the historically activist history of jewelry. The artist has taken notes from the patriotic “V for Victory” brooch that was popular during World War II, and peace sign jewelry protesting American involvement in the Vietnam war. Berman believes artists are messengers of a society, as their works are in direct conversation with the values and politics of the current culture.\u003c/p>\n\u003cfigure id=\"attachment_13008675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13008675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-800x450.jpg\" alt='The \"Alternative Facts\" bracelet in progress.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/IMG_20170329_185953408.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Alternative Facts” bracelet in progress. \u003ccite>(Courtesy of Harriete Estel Berman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">We generally look at past civilizations through their art, from cave paintings to jewelry found at burial sites,” she says.\u003c/span>\u003cb> “\u003c/b>It’s how we evaluate their culture. It’s the most concrete voice that we have.”\u003c/p>\n\u003cp>Berman channels her reflections on politics through making jewelry. But she says the responsibility lies not only on the shoulders of artists to create work that responds to and resists the actions of the current administration.\u003c/p>\n\u003cp>“E\u003cb>\u003cspan style=\"font-weight: 400\">verything is in such an upheaval, and our elected representatives need the support of their constituents,” Berman says. “\u003c/span>\u003c/b>W\u003cb>\u003cspan style=\"font-weight: 400\">e can no longer assume that our government is going to run consistently and fairly without our voice. So you must do anything you can do to raise your voice.”\u003c/span>\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13008658/fabricating-truth-one-tin-can-bracelet-at-a-time","authors":["11208"],"categories":["arts_76","arts_70"],"tags":["arts_1642","arts_1119","arts_1118","arts_596"],"featImg":"arts_13008670","label":"arts"},"arts_13078404":{"type":"posts","id":"arts_13078404","meta":{"index":"posts_1591205157","site":"arts","id":"13078404","score":null,"sort":[1492801220000]},"guestAuthors":[],"slug":"rocky-riveras-round-we-go-is-a-call-to-action-and-a-reminder-weve-been-here-before","title":"Rocky Rivera's 'Round We Go' Is a Call to Action: 'We Need to Organize'","publishDate":1492801220,"format":"standard","headTitle":"Rocky Rivera’s ‘Round We Go’ Is a Call to Action: ‘We Need to Organize’ | 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. 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"}},"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. 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You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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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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