{"version":1,"type":"rich","provider_name":"Libsyn","provider_url":"https:\/\/www.libsyn.com","height":90,"width":600,"title":"Episode 217 Part 2: Cara Croninger\u2019s Creativity Lives on in Her Daughter, Musician Saudia Young","description":"What you\u2019ll learn in this episode: How Saudia is preserving her mom Cara Croninger\u2019s legacy Why Cara Croninger\u2019s resin and plastic jewelry was\u2014and still is\u2014groundbreaking How Cara Croninger refined her jewelry making process, and why she didn\u2019t want her pieces to be perfect What it was like to grow up in an artistic family in the heyday of New York\u2019s art jewelry scene How Saudia\u2019s mom and dad influenced her music career today   About Saudia Young Saudia Young is a New York City-born actress\/singer and storyteller in theater and film. Born on the Lower East Side and brought up between Tribeca and LA, Young explores the notion of home, love, justice, and identity through her art.   The recently repatriated artist lived in Berlin, Germany, for a long chapter of performing, writing, and producing. The Ameripolitan Awards 2023 Female Rockabilly Singer nominee released her 7" single \u2018Noir Rockabilly Blues,\u2019 produced by Lars Vegas-DE and featuring 'The Wobble' on the A and Iggy Pop\u2019s 'Lust for Life' on the B side, in 2017, followed up by her 12\u201d debut \u2018Unlovable\u2019 in 2018. The LP was recorded live at Berlin, Germany\u2019s legendary Lightning Recorders.   Young founded a Dark Kabarett and a Rockabilly Noir Blues band in Berlin, co-created the Lost Cabaret and the Schwarze Liste Kabarett theater projects and wrote and produced the award-winning short film The Gallery. While in Berlin, she was cast in the lead voice-over role of Oskar in School for Vampires (the English version of the Hahn Film cartoon series).   Young co-wrote and performed the solo show Sneaker Revolution and is currently writing a theater\/film piece about her actor father, Otis Young, and sculptor\/designer mom Cara Croninger. Photos Available on TheJewelryJourney.com Additional Resources: Saudia's Website Saudia's Instagram Saudia's Youtube   Transcript:   To jewelry lovers, Cara Croninger was a groundbreaking artist whose work was shown at iconic galleries Artwear and Sculpture to Wear. To musician and actress Saudia Young, she was just mom. Today, Saudia is working to preserve her mother\u2019s legacy and secure her place in art jewelry history. She joined the Jewelry Journey Podcast to talk about how Cara made her pioneering resin jewelry; how Cara\u2019s work evolved with the times; and why Saudia thinks of her mom every time she performs. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven\u2019t heard part one, please head to TheJewelryJourney.com.   Today, we\u2019re speaking to my guest, Saudia Young, who is located in Philadelphia. She has an interesting background. Her mother was a very well-known jeweler, and her father was an actor. She was born in New York and grew up between New York and Los Angeles. Welcome back.   Were you aware she was doing this? Were you aware that she went to different galleries, that she didn\u2019t have a sales rep when you were growing up? Were you aware of this?   Saudia: Yeah, of course. There was one point in the 90s where she had a showroom. Tony Goldman and Janet Goldman had a showroom called Fragments, and she was in the showroom for some years. She had different reps throughout her life. Ten Thousand Things was a store. They still exist, and they have incredibly beautiful work. For a while in the Meatpacking District, they had a nice cadre of artists, and my mom was one of the artists. They also did wholesale for her. So, they represented her work to other people.   Sharon: I have a few pieces, just a smattering, but do you have a lot of her work? Do you have an archive of her work?   Saudia: Oh, yeah. That\u2019s part of what I\u2019ve been dealing with. My sister and I have our own personal collections. Throughout the years, my mom collected the best pieces of each group and gave us our personal collections. Then I have basically all the work she left behind when she passed away. I\u2019ve been trying to organize that. There was a big section of it shown at the Aspen Art Museum two years ago for about a year. Jonathan Burger had a show called The Store. My mom\u2019s jewelry and sculptures were in one show. That was really exciting, to have both together. Actually, 14 small sculptures sold during that show and, fingers crossed, about seven pieces will be donated to an institution. I\u2019m not going to say which one. That takes a long time.   Right now, there are pieces that are actively being sold. Lisa Berman\u2014not a family member, just the same last name\u2014from Sculpture to Wear sold some of my mom\u2019s work at her first gallery. She also helped sell some pieces when I came out and was trying to figure out what to do and how to secure the legacy, meaning literally a storage space to hold everything. It's a big responsibility.   Sharon: You\u2019re referring to Lisa Berman.   Saudia: Yeah, who is not your blood relation but of the same name. Obviously, she introduced us and was part of the first interview. She\u2019s consulted with me. She\u2019s another one of the angels. There\u2019s a whole host of people who are still in awe of my mom\u2019s work and in support and cheerleading. It includes Robert Lee Morris.   I\u2019m still trying to figure out what to do with the work to secure the legacy. It is being sold at Studio Hop in Providence, Rhode Island. That\u2019s introducing the work to some people who have not seen it before. It's introducing it to a new audience, which is really nice. Jussara Lee, who used to sell it in Manhattan and is now in Connecticut, has been selling it. Other than that, I have an Artwork Archive website for her so people can see the work. I\u2019m not selling it from that website, but there is a section of it that\u2019s still being sold. Then there\u2019s a section I\u2019m holding in case I can get it accepted into an institution.   Sharon: I remember a few years ago, I fell in love with a bracelet and I didn\u2019t end up getting it. I think it was the first time I ever heard of her, and I thought it was so neat.   Saudia: Yeah, it sold a lot of work. They stopped selling after she passed away. They also had a hard time. Everybody is just recovering now from Covid. A lot of people had a very hard time in the past few years. Some stores closed and sales went down. There were several stores who were carrying her work who have closed since Covid.   Sharon: What did you do to make it through Covid and to have money come in?   Saudia: I cried. I don\u2019t know. I did whatever I could. I was going back and forth between Germany and here. There was a grant in Germany\u2014actually, it wasn\u2019t a grant; it was a loan\u2014but there was a Covid loan they were giving to artists in Germany. Here, I went on unemployment for a while and then I went off it, whatever I could. We all did what we could to survive.   Sharon: That\u2019s very true. I know there were different things we had to do. I agree with you that people are just coming out of it now.   Saudia: And now we have two wars, so it\u2019s like, \u201cGreat, thank you.\u201d Can\u2019t catch a break.   Sharon: Which is worse? I don\u2019t know. I guess if you\u2019re in the field over there, it\u2019s worse.   Saudia: Yeah.   Sharon: A lot worse. How does it feel to have a mother who\u2019s mentioned by people you don\u2019t know? You say you\u2019re the daughter and all of a sudden, they say, \u201cOh, I love your mom,\u201d or \u201cI love her jewelry.\u201d   Saudia: What do you mean? How does it feel?   Sharon: Yeah. If I said, \u201cOh, I have a really neat bracelet,\u201d and the person says, \u201cI\u2019ve not heard of that person,\u201d how does it feel?   Saudia: First of all, a young man\u2014he\u2019s probably my age. It\u2019s so funny I still think of myself as a teenager. Timothy Reukauf is a stylist. He\u2019s another angel who introduced me to the manager and owner of Screaming Mimis Vintage clothing and jewelry store in New York. When I brought the work, because they brought the work to a vintage show, and they\u2019re showing the work and trying to sell it, she was so enthusiastic and happy and excited. It was nice because it\u2019s an extension of my mom, and I miss my mom. I feel like it\u2019s that, as opposed to anything ego-based. It\u2019s more emotional\u2014now you\u2019re going to get me emotional. But it\u2019s nice to know because I really miss her, and when I hear people loving her work, it\u2019s heartening. It\u2019s heart filling.   Sharon: That\u2019s a good word, heart-filling. I\u2019ve heard different things. It\u2019s Croninger with a hard g. I\u2019ve heard that as Croninger with a soft g. Which one is it?   Saudia: Oh lord, that\u2019s a good one. It\u2019s Cara Croninger with a hard g, but people have called her Croninger with a soft g. People have called her Cara. She\u2019s even called herself Cara, but it\u2019s Cara Lee. Her Michigan name was Cara Lee Croninger, but it depends on who you are. Are you Dutch? Are you German? Are you from New Jersey?   Sharon: Did she support your career as an artist?   Saudia: Do you mean my dreaming? Yeah, she supported me being a dreaming, silly person, definitely. She put me in dance school. She always thought I should be a painter, actually. She\u2019d say, \u201cYou should be a painter,\u201d because I had a natural ability to draw and to work with my hands. After being a child laborer with her, I could make things. But all jokes aside, she was very supportive of me being an artist or whatever it was that I wanted to be, political activist or artist. My sister was an architect. She was very supportive of that. She was beloved by a lot of the young artists who were around Dumbo, our friends, our extended family. She was a positive influence, a positive auntie, elder, second mom, to a lot of people.   Sharon: It sounds like it.   Saudia: Yeah. I shared her as a mom figure with a lot of people.   Sharon: Tell us more about your singing. Do you think of her when you sing?   Saudia: Yeah, I think of her with whatever I do, for sure. There\u2019s one song\u2014I think you wrote it down on the question list\u2014It Don\u2019t Mean a Thing (If It Ain\u2019t Got that Swing), doo wop, doo wop, doo wop, doo wop. I think it was Louis Armstrong. She was working on some kind of saying or branding because she was really into the earrings having a nice swing. She coined it when I was helping her make them. The holes had to be big enough so the lyre could be comfortable enough so the earrings could swing. She incorporated that into some of her branding.   But yeah, I listened to a lot of music growing up. She was very into Judy Collins and Kurt Weill, a wild range. She dated one of the Clancy Brothers\u2014they were very into folk music in the 60s\u2014and my dad and her were into soul and Otis Redding and Taj Mahal and Bonnie Raitt. I\u2019m wandering, but yes.   Sharon: What years was she most popular? It seems like she had a real high.   Saudia: I think the 80s. The minute she started doing the resin stuff, she went into Sculpture to Wear, which was a very prestigious gallery. I\u2019d say the early 70s through the 80s. Then Artwear closed and she was on her own. She did really well in the 90s as well. She was pretty prolific, but I think the 80s were the time when there were tons and tons of fashion articles and fashion shoots with all the supermodels of that time.   Sharon: Talk about wandering, because I\u2019m looking at my list of questions. Tell us how you were involved in making her jewelry. You told us a little bit, but did you ever cut the hearts?   Saudia: The hearts were made in molds. She created molds and poured, and then we would open the rubber molds. I would help sand. I would help drill holes. I can drill a hole. I would help with polishing. Like I said, I would help with finishing work and stringing cords on the hearts. Trying to influence her businesswise, she was not having it.   Sharon: Would she say, \u201cThat color doesn\u2019t look better in the green. It looks better in the purple,\u201d or something that?   Saudia: No, not really because once something is poured, it\u2019s a done deal. That would be like, after you\u2019ve made 500 brownies, saying, \u201cI wish we had blueberry muffins.\u201d It\u2019s too late now.   Sharon: She could say, \u201cWell, you can have it then, and I\u2019ll try and sell the purple one,\u201d or something.   Saudia: No, the work was too labor-intensive. Once things were made, you really needed to get them out there. They were like donuts in a way. You need to get them out so they don\u2019t go stale. Keep the energy, keep them moving. The only thing she was conflicted about was pricing. There was a point in jewelry where everything\u2014remember when the Y necklaces came out? Everything was really tiny. There was a point where it was trendy to have really tiny jewelry, and that freaked her out because her work was so big and sculptural. She would get freaked out about that kind of stuff. The editors loved her work because it was big and you could see it. It went incredibly with beautiful clothes like Issey Miyake and these avant garde designers. The tiny stuff, you can\u2019t see it in an editorial. It\u2019s so funny; you\u2019ll have a cover article and it\u2019ll be like, \u201cEarrings by whomever,\u201d and I\u2019m like, \u201cWhere are they? What earrings?\u201d   Sharon: That\u2019s interesting. Miyake or Yohji Yamamoto, they\u2019re high-end, but they\u2019ve become very\u2014they\u2019re not that valued anymore.   Saudia: Now they\u2019re mainstream, yeah.   Sharon: Do you think your mother\u2019s jewelry would be considered avant garde today?   Saudia: Yeah, it still is in a way because of the designs and the fact that it was really handmade. She was making her own work. Maybe Lisa would call that studio jewelry. She was in her studio making it herself. She did have a short relationship with a company in Japan where they were making work that would only be sold there. It was fine, but you could really see the difference and feel the difference. It wasn\u2019t Cara. It wasn\u2019t special, unfortunately. We\u2019re grateful that they did it, that she had that relationship and that we could go to Japan and travel there. That was awesome.   So, I think she was avant garde as an artist. I don\u2019t agree that Yohji is no longer avant garde. His designs are so beautiful. He\u2019s really focused on craftsmanship, having amazing makers creating his work. In a way that is avant garde, as opposed to crap being made. You know what I mean?   Sharon: You\u2019re right, 100%.   Saudia: In a factory.   Sharon: I can\u2019t think of another one, but there are a lot of designers whose work you can\u2019t afford\u2014I\u2019m talking about clothing\u2014who have developed their own less expensive lines.   Saudia: Yeah. I remember when they would call it the junior line, and it would be for the younger kids. It would be lighter and cheaper and faster and funnier and all that. Now there are lots of layers of that, but you have these throwaway clothes being made by companies like H&M and so forth.   Sharon: Do you think she would fit in, like she\u2019d make a smaller version of something that she made large?   Saudia: She did do some smaller things when she was working with the Japanese company. That led her into making some tiny silver hearts and medium-size silver. Then she had to do her big pieces. She could not let go of her love affair with big, sculptural pieces. I think she was conflicted about the McDonaldizing of fashion and accessories. Of course, she wanted to put food on the table, but she was really conscious of the environment. Even though she was working in plastics, she was very conscious of workers and workers\u2019 rights. Where does something come from? How is it made, and what\u2019s the impact of it being made?   Sharon: It sounds like she carried that through the 80s, into the 90s, into today.   Saudia: Definitely. She definitely had something to do with me being political, her and my father. She was very righteous.   Sharon: I know you do cabaret and rockabilly. What else do you do? What do you sing?   Saudia: My main focus is mental health. It\u2019s a really hard time right now, I feel, but I think it\u2019s actually a good time to continue to do the rockabilly, but to circle back to the dark cabaret I was doing before the rockabilly. So, I\u2019m working on that. I\u2019m working with a few musicians here in Philly, and I have some shows with musicians in other parts of the country. For Thanksgiving, I\u2019m going to be in Illinois with Patrick Jones and 3 On The Tree. It\u2019s a band. We\u2019re going to do a rockabilly Thanksgiving tour. Then in March, I\u2019ll be in California, in Orange County.   Sharon: Doing what?   Saudia: Doing rockabilly with The Hi-Jivers and Abby Girl. In Orange County, we\u2019re going to do just a rockabilly R&B show. Then in April, I\u2019ll be with Viva Las Vegas again, which is a rockabilly weekend. I\u2019ll do an R&B show and rockabilly. In between, I\u2019m just trying to stay sane, make a living, take care of my mom\u2019s work, tell her story. I\u2019m supposedly writing a story about my mom and my dad, sort of a solo show. I don\u2019t know if it\u2019s a solo show or a documentary, but it\u2019s about their relationship as an interracial couple in the 60s and an interracial artist couple.   Sharon: That\u2019ll be very interesting   Saudia: They were both known as being difficult people, but most artists are in a way. It takes a lot of energy to do that work, so you can ruffle a lot of feathers. So, that\u2019s what I\u2019m doing.   Sharon: I hope I\u2019ll get to meet you then. Thank you so much. This was very interesting.   Saudia: Thank you so much. Sharon: Thank you. Well will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey. She would always think about, \u201cWhat am I going to pour?\u201d It might be a ruby red, which was really popular and beautiful. One of the most popular pours, I think I said in the last interview, was the black and white, where she would have black and white and it would come out in a striped formation. Then she would pour into her different molds, the bangles, the C cuffs, the earrings.   Just as important as the colors were the processes. For the slice earrings, she would pour the layers so it would be striped into a block like a loaf of bread, a small, little, long brownie. Then she would slice it on a bandsaw and you would get to see the stripes. Part of her process was the actual cutting, carving, sanding to get the shapes, and then making the decision whether she was going to have them polished or matte without polish.   Sharon: A mask?   Saudia: Matte, sorry. What the finish would be. If she had faceted bangles or hearts or whatever, she was very aware of not making anything perfect. She used the fact that it had scratches to show the layers of work and to show that it\u2019s made by a human. It wasn\u2019t something that needed to be absolutely perfect. She was very into wabi sabi, the Japanese art of the imperfect. She loved wavy shapes and asymmetry in her designs.   Sharon: Who did the selling for the first years, when you were getting it off the ground?   Saudia: I was a kid, so I wasn\u2019t going to get it off the ground. I was just eating the food she was putting in the refrigerator. When she first started with the leatherwork, she was just going around to different boutiques in the Village or whatever and selling them, either having them buy it straight out or on consignment. I think one of the worker\u2019s galleries was the original Sculpture to Wear. That was near where MAD Museum is right now. I\u2019m forgetting the name of the hotel. That was one of her galleries. I\u2019m sure there were other stores I don\u2019t know about.   That was in 1971 or something like that. That was very close to when she started working in plastic. She got taken in and accepted really quickly. At that time, Robert Lee Morris was also selling at Sculpture to Wear. He was a wunderkind. He was opening up his own gallery, Artwear, and brought my mother into that gallery. During that time, that also gave the artists recognition and amplified their voices. They were able to have their work in stores in Boston and in California because of being in Artwear.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.     ","author_name":"Jewelry Journey Podcast","author_url":"http:\/\/thejewelryjourney.com\/","html":"