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"content": "\u003cp>Moments after a Florida jury hit Gawker Media and its founder with $25 million in punitive damages for publishing a sex tape of Hulk Hogan, the former pro wrestler told a gaggle of reporters that he and his legal team “made history.”\u003c/p>\n\u003cp>Hogan said Monday evening that he thought “we’ve protected a lot of people from going through what I went through.”\u003c/p>\n\u003cp>The smiling 62-year-old, who wore all black throughout the three-week trial, added that he’s been overwhelmed with support by fans.\u003c/p>\n\u003cp>“Everywhere I show up, people treat me like I’m still the champ,” he said.\u003c/p>\n\u003cp>On Monday, the jury hit Gawker Media with a $15 million judgment and its owner, Nick Denton, with $10 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It also assessed $100,000 against A.J. Daulerio, the Gawker editor who decided to post the edited sex video and wrote the post that accompanied it.\u003c/p>\n\u003cp>The punitive damages come on top of $115 million the jury imposed Friday after two weeks of trial.\u003c/p>\n\u003cp>Hogan sued Gawker after it posted a video of him having sex with his then-best friend’s wife. Hogan said he didn’t know he was being taped.\u003c/p>\n\u003cp>The president and general counsel of Gawker Media said in a statement that the media company expects the multimillion dollar award will be overturned by an appeals court.\u003c/p>\n\u003cp>Heather Dietrick said in an email Monday night that because the jury was prohibited from knowing about “prior court rulings in favor of Gawker, prohibited from seeing critical evidence gathered by the FBI and prohibited from hearing from the most important witness, Bubba Clem,” that an appeals court could overturn the case.\u003c/p>\n\u003cp>“We are confident we will win this case ultimately based on not only on the law but also on the truth,” she said.\u003c/p>\n\u003cp>Hogan’s lawyer had asked jurors Monday to add punitive damages to the $115 million judgment. Gawker’s lawyer pleaded that the existing verdict was already “debilitating” for the company.\u003c/p>\n\u003cp>During brief closing arguments Monday, Hogan’s lawyer Kenneth Turkel said Gawker Media’s gross revenues in 2015 were $48.7 million and that founder Nick Denton has a total of $121 million, including a $3.6 million Manhattan condo. Gawker Media is worth $83 million, the lawyers said.\u003c/p>\n\u003cp>Daulerio, the editor, has no assets, the lawyers said. They said Daulerio has $27,000 in student loan debt.\u003c/p>\n\u003cp>Turkel had asked the jury to decide on a punitive amount as both punishment to Gawker and a deterrent to other media companies.\u003c/p>\n\u003cp>Jurors have “an ability to send a message,” Turkel said, adding that Gawker acted with reckless disregard when it posted an edited version of the sex video.\u003c/p>\n\u003cp>Michael Sullivan, representing Gawker, said, “The $115 million judgment “is punishment enough” and “is already far beyond their means.”\u003c/p>\n\u003cp>“The amount of that verdict could already be debilitating for Gawker Media,” Sullivan said.\u003c/p>\n\u003cp>“Your verdict will send a chill down the spine of writers, producers and publishers,” he added.\u003c/p>\n\u003cp>One juror, 35-year-old Salina Stevens, told reporters that watching the video posted by Gawker finally convinced her to find for Hogan.\u003c/p>\n\u003cp>“I believe his privacy was violated, and that’s not OK,” she said. “The video was worse than I expected … not so much the sex part of it but the conversation. I just feel like if he knew he was being videotaped, he would not have spoken about the things he spoke about.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It also assessed $100,000 against A.J. Daulerio, the Gawker editor who decided to post the edited sex video and wrote the post that accompanied it.\u003c/p>\n\u003cp>The punitive damages come on top of $115 million the jury imposed Friday after two weeks of trial.\u003c/p>\n\u003cp>Hogan sued Gawker after it posted a video of him having sex with his then-best friend’s wife. Hogan said he didn’t know he was being taped.\u003c/p>\n\u003cp>The president and general counsel of Gawker Media said in a statement that the media company expects the multimillion dollar award will be overturned by an appeals court.\u003c/p>\n\u003cp>Heather Dietrick said in an email Monday night that because the jury was prohibited from knowing about “prior court rulings in favor of Gawker, prohibited from seeing critical evidence gathered by the FBI and prohibited from hearing from the most important witness, Bubba Clem,” that an appeals court could overturn the case.\u003c/p>\n\u003cp>“We are confident we will win this case ultimately based on not only on the law but also on the truth,” she said.\u003c/p>\n\u003cp>Hogan’s lawyer had asked jurors Monday to add punitive damages to the $115 million judgment. Gawker’s lawyer pleaded that the existing verdict was already “debilitating” for the company.\u003c/p>\n\u003cp>During brief closing arguments Monday, Hogan’s lawyer Kenneth Turkel said Gawker Media’s gross revenues in 2015 were $48.7 million and that founder Nick Denton has a total of $121 million, including a $3.6 million Manhattan condo. Gawker Media is worth $83 million, the lawyers said.\u003c/p>\n\u003cp>Daulerio, the editor, has no assets, the lawyers said. They said Daulerio has $27,000 in student loan debt.\u003c/p>\n\u003cp>Turkel had asked the jury to decide on a punitive amount as both punishment to Gawker and a deterrent to other media companies.\u003c/p>\n\u003cp>Jurors have “an ability to send a message,” Turkel said, adding that Gawker acted with reckless disregard when it posted an edited version of the sex video.\u003c/p>\n\u003cp>Michael Sullivan, representing Gawker, said, “The $115 million judgment “is punishment enough” and “is already far beyond their means.”\u003c/p>\n\u003cp>“The amount of that verdict could already be debilitating for Gawker Media,” Sullivan said.\u003c/p>\n\u003cp>“Your verdict will send a chill down the spine of writers, producers and publishers,” he added.\u003c/p>\n\u003cp>One juror, 35-year-old Salina Stevens, told reporters that watching the video posted by Gawker finally convinced her to find for Hogan.\u003c/p>\n\u003cp>“I believe his privacy was violated, and that’s not OK,” she said. “The video was worse than I expected … not so much the sex part of it but the conversation. I just feel like if he knew he was being videotaped, he would not have spoken about the things he spoke about.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For more than 80 years, the UC Theatre was a crown jewel in downtown Berkeley. People flocked to the theater — which opened in 1917, boasting the largest screen west of the Mississippi — to see everything from 10-cent silent films in the ’20s to double features in the ’70s. (One of those attendees? Tom Hanks, who \u003ca href=\"http://www.filmcomment.com/article/a-blast-from-the-past-interview-with-tom-hanks/\" target=\"_blank\" rel=\"noopener\">later credited\u003c/a> the theater as key to his film education).\u003c/p>\n\u003cp>But in 2001, upon discovering the hundreds of thousands of dollars required to complete a seismic retrofit, its landlords closed the theater’s doors. It’s sat abandoned and dilapidated ever since — until March 25, when it’ll reopen as an \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">ambitious music venue\u003c/a> after a $6 million renovation.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/253889818″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>The theater’s revamp (now officially called the UC Theatre Taube Family Music Hall) is spearheaded by David Mayeri, who worked at Bill Graham Presents for 35 years and grew up in Berkeley — he fondly recalls seeing \u003cem>The Ten Commandments\u003c/em> at the theater as a child. Mayeri became intrigued by the space when the head of Berkeley’s economic development department approached him in 2007. “I walked into the room, one that I went to as a child,” Mayeri says, “and immediately pictured what it could look like as a music venue.”\u003c/p>\n\u003cfigure id=\"attachment_11168447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_.jpg\" alt=\"A rendering of the new UC Theatre Taube Family Music Hall.\" width=\"800\" height=\"405\" class=\"size-full wp-image-11168447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_-400x203.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_-768x389.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the new UC Theatre Taube Family Music Hall. \u003ccite>(Image: Robert Becker/UC Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mayeri initially imagined the project as a for-profit venture aided by investors like Hardly Strictly Bluegrass founder Warren Hellman. But after Hellman’s death in 2011, Mayeri decided to restructure the theater as a nonprofit. “Instead of having a responsibility to investors, we now feel we have one to the community,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mayeri started unloading equipment at local Bay Area shows as a teen in the ’70s for $10 a pop, and eventually became Chief Operating Officer of Bill Graham Presents by the ‘90s — a somewhat unlikely career journey that he hopes to replicate for others. He’s created a \u003ca href=\"http://www.theuctheatre.org/education/concert-career-pathways/\" target=\"_blank\" rel=\"noopener\">program \u003c/a>where 17-25 year-olds can learn industry-relevant skills through workshops on everything from sound engineering to booking. Mayeri also plans to offer paid internships. The theater partners with groups in Richmond and Berkeley to diversify their applicant pool (five of the 10 people in the pilot program are from underserved communities), and Mayeri plans to regularly offer the space to nonprofits for fundraisers.\u003c/p>\n\u003cfigure id=\"attachment_11342150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11342150 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/edited.jpg\" alt=\"The UC Theater being built in 1916\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited-768x528.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The UC Theater being built in 1916. \u003ccite>(Berkeley Architectural Heritage Association )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such projects will be underwritten by the theater’s planned programming of 75-100 annual shows, with some of the booking in-house, some paired with concert giant Live Nation. In terms of their place along the Bay Area’s ladder of venues, Mayeri says people can expect “bands that you see at the Fillmore. Bands that have outgrown Slim’s, Great American Music Hall, the New Parish, we’re now in the East Bay for them to play. There is no venue of this size and type in the East Bay.”\u003c/p>\n\u003cp>He’s also incorporating what he calls “community programming” to broaden its audience to an older crowd maybe not as entranced by NOFX and Deerhunter (who both play the theater in April). They’ve already booked the Berkeley High Jazz band, and are hoping to secure classical, jazz and opera shows.\u003c/p>\n\u003cp>It’s a new direction for the theater, which had previously only served as a film venue. In addition to the historic parade of movies it showed — its \u003ca href=\"http://www.sfgate.com/bayarea/article/Not-Your-Parents-Rocky-Horror-Show-Teens-3000458.php\" target=\"_blank\" rel=\"noopener\">famous weekly showings\u003c/a> of \u003cem>The Rocky Horror Picture Show\u003c/em> are considered by many to be the country’s longest running — it served as the location for one of the film world’s most bizarre spectacles. Famous German director Werner Herzog had bet his friend, director Errol Morris, that he would eat his shoe if Morris ever finished his film \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Gates_of_Heaven\" target=\"_blank\" rel=\"noopener\">Gates of Heaven\u003c/a>\u003c/em>. At the film’s premiere at the UC Theatre, Herzog admitted defeat and ate the shoe (which Alice Waters had spent the day helping him boil and season at Chez Panisse).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CGcWTIWYDMQ\u003c/p>\n\u003cp>Mayeri says the theater will occasionally show movies, primarily as fundraising opportunities. The renovated space will hold 1,400 people, with flexible seating options for both general-admission standing and smaller table and chair shows. Unlike many theaters, which have to choose between acoustically equipping themselves for either rock music or classical shows, the theater will have sound systems for both — a traditional rock and roll sound system, and a Meyer Constellation, an elaborate series of speakers and microphones controlled by an iPad that the \u003cem>New Yorker\u003c/em> recently described as “\u003ca href=\"http://www.newyorker.com/magazine/2015/02/23/wizards-sound\" target=\"_blank\" rel=\"noopener\">the sonic equivalent of Photoshop\u003c/a>.”\u003c/p>\n\u003cp>It’s a good time to be investing in downtown Berkeley. A few years ago, the city passed the \u003ca href=\"http://www.ci.berkeley.ca.us/dap/\" target=\"_blank\" rel=\"noopener\">Downtown Area Plan \u003c/a>in 2012, paving the way for more and taller buildings downtown. As more San Franciscans move East, Berkeley appears eager to woo them with an increased amount of housing: \u003ca href=\"http://www.berkeleyside.com/2014/01/14/explosive-downtown-berkeley-housing-boom-underway/\" target=\"_blank\" rel=\"noopener\">there are plans\u003c/a> to build thousands of new housing units in the city’s downtown area over the next few years to cater to the influx of non-student residents.\u003c/p>\n\u003cfigure id=\"attachment_11342146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11342146\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/UCT-1917-2.jpg\" alt=\"The theater in 1917, the first year of its operation\" width=\"800\" height=\"929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-517x600.jpg 517w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-768x892.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The theater in 1917, the first year of its operation. \u003ccite>(Berkeley Architectural Heritage Association )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And much like the Fox Theater helped transform Oakland’s uptown neighborhood from a ghost town into a \u003cem>New York Times\u003c/em>-worthy tourist destination, Mayeri hopes that the theater will play a key role in downtown Berkeley’s revitalization, pointing to the potential thousands of concert attendees. “The first year will bring 120,000 plus new people into downtown Berkeley. We’re 1,400 capacity, so a show brings 1,400 people to downtown Berkeley, which will help restaurants and local businesses.”\u003c/p>\n\u003cp>And now, after years of working to bring a new concert hall to his hometown, Mayeri has just one simple goal: for it to finally be done.\u003c/p>\n\u003cp>“I’m excited to have construction be done and behind us,” he says. “The excitement for me is watching the artist come off the stage and say ‘Wow, that was a great show’, and watching the customers leave with a smile on their faces, saying, ‘This was a great experience.’”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The UC Theatre’s first slate of shows include They might Be Giants on March 25; Trombone Shorty on March 26; and the Dark Star Orchestra, NOFX, Deerhunter and Los Lobos scattered throughout April and May. For full details, see \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">the theatre’s site\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "After a 15-year hiatus, the doors are open again at the UC Theatre -- with a concert-promotions veteran at the helm for a new program of live music instead of film. ",
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"title": "In Downtown Berkeley, A Grand Rebirth for the UC Theatre | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For more than 80 years, the UC Theatre was a crown jewel in downtown Berkeley. People flocked to the theater — which opened in 1917, boasting the largest screen west of the Mississippi — to see everything from 10-cent silent films in the ’20s to double features in the ’70s. (One of those attendees? Tom Hanks, who \u003ca href=\"http://www.filmcomment.com/article/a-blast-from-the-past-interview-with-tom-hanks/\" target=\"_blank\" rel=\"noopener\">later credited\u003c/a> the theater as key to his film education).\u003c/p>\n\u003cp>But in 2001, upon discovering the hundreds of thousands of dollars required to complete a seismic retrofit, its landlords closed the theater’s doors. It’s sat abandoned and dilapidated ever since — until March 25, when it’ll reopen as an \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">ambitious music venue\u003c/a> after a $6 million renovation.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/253889818″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/253889818″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The theater’s revamp (now officially called the UC Theatre Taube Family Music Hall) is spearheaded by David Mayeri, who worked at Bill Graham Presents for 35 years and grew up in Berkeley — he fondly recalls seeing \u003cem>The Ten Commandments\u003c/em> at the theater as a child. Mayeri became intrigued by the space when the head of Berkeley’s economic development department approached him in 2007. “I walked into the room, one that I went to as a child,” Mayeri says, “and immediately pictured what it could look like as a music venue.”\u003c/p>\n\u003cfigure id=\"attachment_11168447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_.jpg\" alt=\"A rendering of the new UC Theatre Taube Family Music Hall.\" width=\"800\" height=\"405\" class=\"size-full wp-image-11168447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_-400x203.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/UCTheatre.MAIN_-768x389.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of the new UC Theatre Taube Family Music Hall. \u003ccite>(Image: Robert Becker/UC Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mayeri initially imagined the project as a for-profit venture aided by investors like Hardly Strictly Bluegrass founder Warren Hellman. But after Hellman’s death in 2011, Mayeri decided to restructure the theater as a nonprofit. “Instead of having a responsibility to investors, we now feel we have one to the community,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mayeri started unloading equipment at local Bay Area shows as a teen in the ’70s for $10 a pop, and eventually became Chief Operating Officer of Bill Graham Presents by the ‘90s — a somewhat unlikely career journey that he hopes to replicate for others. He’s created a \u003ca href=\"http://www.theuctheatre.org/education/concert-career-pathways/\" target=\"_blank\" rel=\"noopener\">program \u003c/a>where 17-25 year-olds can learn industry-relevant skills through workshops on everything from sound engineering to booking. Mayeri also plans to offer paid internships. The theater partners with groups in Richmond and Berkeley to diversify their applicant pool (five of the 10 people in the pilot program are from underserved communities), and Mayeri plans to regularly offer the space to nonprofits for fundraisers.\u003c/p>\n\u003cfigure id=\"attachment_11342150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11342150 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/edited.jpg\" alt=\"The UC Theater being built in 1916\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/edited-768x528.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The UC Theater being built in 1916. \u003ccite>(Berkeley Architectural Heritage Association )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Such projects will be underwritten by the theater’s planned programming of 75-100 annual shows, with some of the booking in-house, some paired with concert giant Live Nation. In terms of their place along the Bay Area’s ladder of venues, Mayeri says people can expect “bands that you see at the Fillmore. Bands that have outgrown Slim’s, Great American Music Hall, the New Parish, we’re now in the East Bay for them to play. There is no venue of this size and type in the East Bay.”\u003c/p>\n\u003cp>He’s also incorporating what he calls “community programming” to broaden its audience to an older crowd maybe not as entranced by NOFX and Deerhunter (who both play the theater in April). They’ve already booked the Berkeley High Jazz band, and are hoping to secure classical, jazz and opera shows.\u003c/p>\n\u003cp>It’s a new direction for the theater, which had previously only served as a film venue. In addition to the historic parade of movies it showed — its \u003ca href=\"http://www.sfgate.com/bayarea/article/Not-Your-Parents-Rocky-Horror-Show-Teens-3000458.php\" target=\"_blank\" rel=\"noopener\">famous weekly showings\u003c/a> of \u003cem>The Rocky Horror Picture Show\u003c/em> are considered by many to be the country’s longest running — it served as the location for one of the film world’s most bizarre spectacles. Famous German director Werner Herzog had bet his friend, director Errol Morris, that he would eat his shoe if Morris ever finished his film \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Gates_of_Heaven\" target=\"_blank\" rel=\"noopener\">Gates of Heaven\u003c/a>\u003c/em>. At the film’s premiere at the UC Theatre, Herzog admitted defeat and ate the shoe (which Alice Waters had spent the day helping him boil and season at Chez Panisse).\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/CGcWTIWYDMQ'\n title='//www.youtube.com/embed/CGcWTIWYDMQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mayeri says the theater will occasionally show movies, primarily as fundraising opportunities. The renovated space will hold 1,400 people, with flexible seating options for both general-admission standing and smaller table and chair shows. Unlike many theaters, which have to choose between acoustically equipping themselves for either rock music or classical shows, the theater will have sound systems for both — a traditional rock and roll sound system, and a Meyer Constellation, an elaborate series of speakers and microphones controlled by an iPad that the \u003cem>New Yorker\u003c/em> recently described as “\u003ca href=\"http://www.newyorker.com/magazine/2015/02/23/wizards-sound\" target=\"_blank\" rel=\"noopener\">the sonic equivalent of Photoshop\u003c/a>.”\u003c/p>\n\u003cp>It’s a good time to be investing in downtown Berkeley. A few years ago, the city passed the \u003ca href=\"http://www.ci.berkeley.ca.us/dap/\" target=\"_blank\" rel=\"noopener\">Downtown Area Plan \u003c/a>in 2012, paving the way for more and taller buildings downtown. As more San Franciscans move East, Berkeley appears eager to woo them with an increased amount of housing: \u003ca href=\"http://www.berkeleyside.com/2014/01/14/explosive-downtown-berkeley-housing-boom-underway/\" target=\"_blank\" rel=\"noopener\">there are plans\u003c/a> to build thousands of new housing units in the city’s downtown area over the next few years to cater to the influx of non-student residents.\u003c/p>\n\u003cfigure id=\"attachment_11342146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11342146\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/UCT-1917-2.jpg\" alt=\"The theater in 1917, the first year of its operation\" width=\"800\" height=\"929\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-400x465.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-517x600.jpg 517w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/UCT-1917-2-768x892.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The theater in 1917, the first year of its operation. \u003ccite>(Berkeley Architectural Heritage Association )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And much like the Fox Theater helped transform Oakland’s uptown neighborhood from a ghost town into a \u003cem>New York Times\u003c/em>-worthy tourist destination, Mayeri hopes that the theater will play a key role in downtown Berkeley’s revitalization, pointing to the potential thousands of concert attendees. “The first year will bring 120,000 plus new people into downtown Berkeley. We’re 1,400 capacity, so a show brings 1,400 people to downtown Berkeley, which will help restaurants and local businesses.”\u003c/p>\n\u003cp>And now, after years of working to bring a new concert hall to his hometown, Mayeri has just one simple goal: for it to finally be done.\u003c/p>\n\u003cp>“I’m excited to have construction be done and behind us,” he says. “The excitement for me is watching the artist come off the stage and say ‘Wow, that was a great show’, and watching the customers leave with a smile on their faces, saying, ‘This was a great experience.’”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The UC Theatre’s first slate of shows include They might Be Giants on March 25; Trombone Shorty on March 26; and the Dark Star Orchestra, NOFX, Deerhunter and Los Lobos scattered throughout April and May. For full details, see \u003ca href=\"http://www.theuctheatre.org/\" target=\"_blank\" rel=\"noopener\">the theatre’s site\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Who Is the Dancer on the Highway 101 Overpass?",
"title": "Who Is the Dancer on the Highway 101 Overpass?",
"headTitle": "Bay Curious | News Fix | KQED News",
"content": "\u003cp>\u003cem>As part of our series \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Bay Curious\u003c/a>, we are answering questions from KQED listeners and readers. This one comes from San Francisco resident Amy Kistler.\u003c/em>\u003c/p>\n\u003cp>[dropcap]A[/dropcap]my Kistler has seen a man dancing on the 18th Street pedestrian overpass above Highway 101 in San Francisco for years. Her evening commutes from Emeryville back to the city are speckled with sightings of the dancing man, who always holds a large red heart in his hand.\u003c/p>\n\u003cp>\"Is he going to be there, is he not going to be there?\" Kistler regularly wonders as she crawls toward the overpass in rush-hour traffic.\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>It became a kind of game in her office, Kistler said. Her co-workers would share when they saw the dancing man, and try to guess what brought him up to the bridge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally stumped, Kistler asked Bay Curious, \"What's the story with the dancer on the 18th Street overpass?\"\u003c/p>\n\u003cfigure id=\"attachment_10901209\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/javonne-on-bridge.jpg\" alt=\"For many drivers on Highway 101, Javonne Hatfield is a regular fixture on their commute.\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-10901209\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-960x540.jpg 960w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">For many drivers on Highway 101, Javonne Hatfield is a regular fixture on their commute. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Man Behind The Dance Moves\u003c/h2>\n\u003cp>San Francisco native Javonne Hatfield, 23, started dancing at his family's church when he was 8 years old.\u003c/p>\n\u003cp>\"I was always dancing around and everyone was like, 'Why can't you stay still?' \" he says.\u003c/p>\n\u003cp>From that early age, his mother encouraged him to practice in the arts, and had him take part in musicals and plays at the Cosmopolitan Baptist Church in Ingleside. One day, he tried praise dance, a spiritual performance art done as a form of worship.\u003c/p>\n\u003cp>\"You paint your face white and you mime to inspirational music or gospel music,\" he explains. \u003c/p>\n\u003cp>It was an instant connection for Hatfield.\u003c/p>\n\u003cp>\"I always felt that there was this was unspoken power that comes over me when I participate in any kind of dance,\" he says. \"I would always get this very special feeling and think 'This is for me.'\"\u003c/p>\n\u003ch2>Dancing For Drivers\u003c/h2>\n\u003cp>Three years ago, Hatfield was at a difficult point in life. His mother had died four years earlier and he was going through some big life changes. \u003c/p>\n\u003cp>\"I was trying to figure out, 'What’s my purpose? Why am I here? What can I do at this point in time to get the negative energy out?'\" he says.\u003c/p>\n\u003cp>One evening, he walked out to a bridge over Highway 101 near his Portola district home and stared down at the cars crawling in traffic below him. He says he noticed how unhappy everybody looked -- how they were all focused on getting to their destination and not happy to be there.\u003c/p>\n\u003cp>On a whim, he threw up a peace sign at the drivers.\u003c/p>\n\u003cp>And it felt \u003cem>good\u003c/em>.\u003c/p>\n\u003cp>Quickly, an idea formed and before long Hatfield had returned to the bridge with a piece of cork board he'd cut into the shape of a heart and spray painted red. \u003c/p>\n\u003cp>Looking down at the cars, \"I got chills throughout my body, and I started shaking a little bit. I told myself don’t think about it,\" he says. \"Once I started dancing I could hear the car honks over the music and see people waving at me. That's when it stuck — this is what I need to do.\"\u003c/p>\n\u003cp>After a few location changes, and an upgrade on his heart-shaped prop, Hatfield settled into his regular spot on the pedestrian bridge near the Vermont Street exit. In a way, the bridge -- floating in front of an expansive view of San Francisco -- has been his unofficial stage for the last two and a half years.\u003c/p>\n\u003cfigure id=\"attachment_10900871\" class=\"wp-caption alignleft\" style=\"max-width: 480px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/bridgedance1.gif\" alt=\"Even when Hatfield is having a bad day, he works to brighten someone else's day. "It’s crazy because somehow it always works and makes my day better," he says.\" width=\"480\" height=\"270\" class=\"size-full wp-image-10900871\">\u003cfigcaption class=\"wp-caption-text\">Even when Hatfield is having a bad day, he works to brighten someone else's day. \"It’s crazy because somehow it always works and makes my day better,\" he says. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This particular location is like a gateway in and out of San Francisco,\" Hatfield explains. Drivers going nearly anywhere in the city will pass under him on their way in or out of town.\u003c/p>\n\u003cp>\"I believe what you put out is what you get back. So, I try to just give out good, give out good,\" he says. \"It's all about the love, and that's what my message is.\"\u003c/p>\n\u003cp>Hatfield says the dancing also makes him feel connected to his mother and God. He says a prayer every time before he dances.\u003c/p>\n\u003cp>\"My mom would give people chances if they messed up in life. She was always there for people and had a big heart to share with the community,\" he says. \"With me dancing, that’s my way to keep the love inside of me and share it with the world.\"\u003c/p>\n\u003cp>You can spot Hatfield on the 18th Street overpass during evening commute hours several days a week. If you do see him and wave, it's sure to bring a smile to his face.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Got a question you want KQED’s Bay Curious team to investigate?\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\"> Ask!\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>As part of our series \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Bay Curious\u003c/a>, we are answering questions from KQED listeners and readers. This one comes from San Francisco resident Amy Kistler.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>my Kistler has seen a man dancing on the 18th Street pedestrian overpass above Highway 101 in San Francisco for years. Her evening commutes from Emeryville back to the city are speckled with sightings of the dancing man, who always holds a large red heart in his hand.\u003c/p>\n\u003cp>\"Is he going to be there, is he not going to be there?\" Kistler regularly wonders as she crawls toward the overpass in rush-hour traffic.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It became a kind of game in her office, Kistler said. Her co-workers would share when they saw the dancing man, and try to guess what brought him up to the bridge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally stumped, Kistler asked Bay Curious, \"What's the story with the dancer on the 18th Street overpass?\"\u003c/p>\n\u003cfigure id=\"attachment_10901209\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/javonne-on-bridge.jpg\" alt=\"For many drivers on Highway 101, Javonne Hatfield is a regular fixture on their commute.\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-10901209\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-960x540.jpg 960w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">For many drivers on Highway 101, Javonne Hatfield is a regular fixture on their commute. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Man Behind The Dance Moves\u003c/h2>\n\u003cp>San Francisco native Javonne Hatfield, 23, started dancing at his family's church when he was 8 years old.\u003c/p>\n\u003cp>\"I was always dancing around and everyone was like, 'Why can't you stay still?' \" he says.\u003c/p>\n\u003cp>From that early age, his mother encouraged him to practice in the arts, and had him take part in musicals and plays at the Cosmopolitan Baptist Church in Ingleside. One day, he tried praise dance, a spiritual performance art done as a form of worship.\u003c/p>\n\u003cp>\"You paint your face white and you mime to inspirational music or gospel music,\" he explains. \u003c/p>\n\u003cp>It was an instant connection for Hatfield.\u003c/p>\n\u003cp>\"I always felt that there was this was unspoken power that comes over me when I participate in any kind of dance,\" he says. \"I would always get this very special feeling and think 'This is for me.'\"\u003c/p>\n\u003ch2>Dancing For Drivers\u003c/h2>\n\u003cp>Three years ago, Hatfield was at a difficult point in life. His mother had died four years earlier and he was going through some big life changes. \u003c/p>\n\u003cp>\"I was trying to figure out, 'What’s my purpose? Why am I here? What can I do at this point in time to get the negative energy out?'\" he says.\u003c/p>\n\u003cp>One evening, he walked out to a bridge over Highway 101 near his Portola district home and stared down at the cars crawling in traffic below him. He says he noticed how unhappy everybody looked -- how they were all focused on getting to their destination and not happy to be there.\u003c/p>\n\u003cp>On a whim, he threw up a peace sign at the drivers.\u003c/p>\n\u003cp>And it felt \u003cem>good\u003c/em>.\u003c/p>\n\u003cp>Quickly, an idea formed and before long Hatfield had returned to the bridge with a piece of cork board he'd cut into the shape of a heart and spray painted red. \u003c/p>\n\u003cp>Looking down at the cars, \"I got chills throughout my body, and I started shaking a little bit. I told myself don’t think about it,\" he says. \"Once I started dancing I could hear the car honks over the music and see people waving at me. That's when it stuck — this is what I need to do.\"\u003c/p>\n\u003cp>After a few location changes, and an upgrade on his heart-shaped prop, Hatfield settled into his regular spot on the pedestrian bridge near the Vermont Street exit. In a way, the bridge -- floating in front of an expansive view of San Francisco -- has been his unofficial stage for the last two and a half years.\u003c/p>\n\u003cfigure id=\"attachment_10900871\" class=\"wp-caption alignleft\" style=\"max-width: 480px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/bridgedance1.gif\" alt=\"Even when Hatfield is having a bad day, he works to brighten someone else's day. "It’s crazy because somehow it always works and makes my day better," he says.\" width=\"480\" height=\"270\" class=\"size-full wp-image-10900871\">\u003cfigcaption class=\"wp-caption-text\">Even when Hatfield is having a bad day, he works to brighten someone else's day. \"It’s crazy because somehow it always works and makes my day better,\" he says. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This particular location is like a gateway in and out of San Francisco,\" Hatfield explains. Drivers going nearly anywhere in the city will pass under him on their way in or out of town.\u003c/p>\n\u003cp>\"I believe what you put out is what you get back. So, I try to just give out good, give out good,\" he says. \"It's all about the love, and that's what my message is.\"\u003c/p>\n\u003cp>Hatfield says the dancing also makes him feel connected to his mother and God. He says a prayer every time before he dances.\u003c/p>\n\u003cp>\"My mom would give people chances if they messed up in life. She was always there for people and had a big heart to share with the community,\" he says. \"With me dancing, that’s my way to keep the love inside of me and share it with the world.\"\u003c/p>\n\u003cp>You can spot Hatfield on the 18th Street overpass during evening commute hours several days a week. If you do see him and wave, it's sure to bring a smile to his face.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Got a question you want KQED’s Bay Curious team to investigate?\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\"> Ask!\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Cave is an 11-year-old graffiti writer in San Francisco. He wants to keep his identity secret, just like the graffiti masters.“They don’t want people to know who they are,” Cave says. “Sometimes they do illegal stuff, and you know, that could get you into trouble.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to Cave talk about his graffiti habit:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/251862556″ 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>\u003cstrong>Early signs\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cave’s passion for graffiti started early. It began with signs. “I actually learned how to read through traffic signs, because I used to know what they said by heart, like \u003ci>\u003cspan style=\"font-weight: 400\">stop\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">one way\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and stuff.” When Cave saw lettering he liked, he would make his parents stop in the street so he could admire it. At home he made copies of the signs and pasted them onto cardboard. He loved signs so much that one Halloween he dressed up as the falling rock sign. There was also a period of time that he wore a reflective construction vest to school everyday.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11392375\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11392375 size-medium\" title=\"(Courtesy of Cave)\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1515842_1698342163724806_400933734_n-600x600.jpg\" alt=\"\" width=\"600\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Cave at an abandoned RC Cola Factory in Miami. Graffiti artists covered the factory for an event in conjunction with Art Basel. (Courtesy of Cave)\u003c/figcaption>\u003c/figure>\n\u003cp>A love of signage transitioned seamlessly into a love of graffiti. Cave has taken a handful of graffiti classes at school and at \u003ca href=\"http://1amsf.com/\" target=\"_blank\" rel=\"noopener\">1AM gallery\u003c/a>, an urban art organization in San Francisco and Oakland. Cave gives a lot of credit to his teachers for showing him the basics. While Cave’s been working on his lettering for years, he’s only been painting for two years because, he says, his hands were way too small. “It was really awkward and hard to hold a paint can,” Cave says.\u003c/p>\n\u003cfigure id=\"attachment_11392378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11392378 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-800x440.jpg\" alt=\"\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-400x220.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cave’s name and crew, JPS. (Courtesy of Cave)\u003c/figcaption>\u003c/figure>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>Right now, Cave mostly practices his art on a wall in his backyard. It’s covered with layers of paint about a centimeter thick. “I’ve probably painted it at least 50 times,” Cave says. “I usually draw everyday, but I just paint on the weekends because I’ve got to do my homework,” he says.\u003c/p>\n\u003cp>Cave further hones his craft by studying eye-catching murals by experienced artists around the Bay Area. One time, he spotted a painting by the great local graffiti artist Apex on a wall in Chinatown. Then he saw the artist himself. “We stopped and I said, hi, nice to meet you and stuff,” Cave says of the experience. “And now I’m going to intern with him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Learn the basics of graffiti lettering from graffiti art master Apexer and discover studios around the Bay Area \u003ca href=\"http://ww2.kqed.org/arts/2016/03/18/video-learn-graffiti-lettering-basics-from-apexer/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11409280\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11409280 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/924040_862928453750541_803528927_n-600x600.jpg\" alt=\"\" width=\"600\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">The artist painting his name (courtesy of Cave) \u003ccite>(Photo: Courtesy of Cave)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Cave is an 11-year-old graffiti writer in San Francisco. He wants to keep his identity secret, just like the graffiti masters.“They don’t want people to know who they are,” Cave says. “Sometimes they do illegal stuff, and you know, that could get you into trouble.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>Listen to Cave talk about his graffiti habit:\u003c/em>\u003c/strong>\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/251862556″&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/251862556″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Early signs\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cave’s passion for graffiti started early. It began with signs. “I actually learned how to read through traffic signs, because I used to know what they said by heart, like \u003ci>\u003cspan style=\"font-weight: 400\">stop\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">one way\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and stuff.” When Cave saw lettering he liked, he would make his parents stop in the street so he could admire it. At home he made copies of the signs and pasted them onto cardboard. He loved signs so much that one Halloween he dressed up as the falling rock sign. There was also a period of time that he wore a reflective construction vest to school everyday.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11392375\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11392375 size-medium\" title=\"(Courtesy of Cave)\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1515842_1698342163724806_400933734_n-600x600.jpg\" alt=\"\" width=\"600\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Cave at an abandoned RC Cola Factory in Miami. Graffiti artists covered the factory for an event in conjunction with Art Basel. (Courtesy of Cave)\u003c/figcaption>\u003c/figure>\n\u003cp>A love of signage transitioned seamlessly into a love of graffiti. Cave has taken a handful of graffiti classes at school and at \u003ca href=\"http://1amsf.com/\" target=\"_blank\" rel=\"noopener\">1AM gallery\u003c/a>, an urban art organization in San Francisco and Oakland. Cave gives a lot of credit to his teachers for showing him the basics. While Cave’s been working on his lettering for years, he’s only been painting for two years because, he says, his hands were way too small. “It was really awkward and hard to hold a paint can,” Cave says.\u003c/p>\n\u003cfigure id=\"attachment_11392378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11392378 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-800x440.jpg\" alt=\"\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-400x220.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/12568085_911724068942740_1880774504_n-e1457567712268.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cave’s name and crew, JPS. (Courtesy of Cave)\u003c/figcaption>\u003c/figure>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>Right now, Cave mostly practices his art on a wall in his backyard. It’s covered with layers of paint about a centimeter thick. “I’ve probably painted it at least 50 times,” Cave says. “I usually draw everyday, but I just paint on the weekends because I’ve got to do my homework,” he says.\u003c/p>\n\u003cp>Cave further hones his craft by studying eye-catching murals by experienced artists around the Bay Area. One time, he spotted a painting by the great local graffiti artist Apex on a wall in Chinatown. Then he saw the artist himself. “We stopped and I said, hi, nice to meet you and stuff,” Cave says of the experience. “And now I’m going to intern with him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Learn the basics of graffiti lettering from graffiti art master Apexer and discover studios around the Bay Area \u003ca href=\"http://ww2.kqed.org/arts/2016/03/18/video-learn-graffiti-lettering-basics-from-apexer/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11409280\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11409280 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/924040_862928453750541_803528927_n-600x600.jpg\" alt=\"\" width=\"600\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">The artist painting his name (courtesy of Cave) \u003ccite>(Photo: Courtesy of Cave)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\">El\u003c/a>\u003cem>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\"> Son de la Misión\u003c/a>,\u003c/em> a new musical theater work, opens with a quote from an old Santana Latin rock number, and continues as a series of songs and stories highlighting 50 years of the Mission District’s history, from Latino enclave to hipster hangout. There’s doo-wop and soul, Latin jazz and salsa, rock \u003cem>en español\u003c/em>, and a rap track about the death of Mission and Bernal Heights native \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Alex Nieto,\u003c/a> killed by San Francisco police in 2014.\u003c/p>\n\u003cp>The Mission is at the center of the Bay Area’s growing fight over gentrification. And now the \u003ca href=\"http://sfcmc.org/?gclid=CNvyqqvGyMsCFZNgfgodC-QMbA\" target=\"_blank\" rel=\"noopener\">Community Music Center \u003c/a>(CMC), a Mission music school celebrating 95 years in the neighborhood, has commissioned a piece to tell some of that story. \u003cem>El Son de la Misión \u003c/em>plays at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/el-son-de-la-mision/#.VusSP-IrKJA\" target=\"_blank\" rel=\"noopener\">Brava Theater Saturday, Mar. 19 and Sunday, Mar. 20.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11414791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414791\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/006-800x495.jpg\" alt=\"Composer and music teacher John Calloway\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer and music teacher John Calloway \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like a ballad, it’s a narrative,” says \u003cem>El Son\u003c/em> composer and musician \u003ca href=\"https://www.facebook.com/johncallowaymusic/\" target=\"_blank\" rel=\"noopener\">John Calloway\u003c/a>. He’s been teaching music to Mission kids at CMC and in east side high schools for 30 years. And many of the 45 singers and musicians in the show have been his students.\u003c/p>\n\u003cp>“The piece is meant to be a neighborhood gathering,” says Community Music Center’s program director Sylvia Sherman. “You see four generations transmitting culture. It’s like a large family.”\u003c/p>\n\u003cp>That family shares its pride in its musical heritage and its grievances over the way the community has changed in the past decade. “This is the perfect time to tell this story because of gentrification,” Calloway says. “Maybe it’s too strong to use genocide, but there are things happening right now in the Mission that are very alarming.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>El Son\u003c/em> features bits of the neighborhood’s history, both cultural and political, written and performed by longtime \u003ca href=\"http://news.sfsu.edu/news/experts/carlos-baron\" target=\"_blank\" rel=\"noopener\">SF State Theater professor Carlos Baron\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11414795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414795\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-800x495.jpg\" alt=\"SF State Theater Professor Carlos Baron\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF State Theater Professor Carlos Baron \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point in the piece, Baron explains how he too has been displaced by high rents in the Mission (he’s moved to Daly City), then offers a half-joking olive branch to the tech community often blamed for gentrifying the neighborhood. “We have to dance, we have to do stuff creatively in order to heal,” Baron says in the show. “Why not invite some hipsters to dance salsa, you know. It’s called \u003cem>La Rumba del Hipster\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_11414797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414797\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/003-800x495.jpg\" alt=\"Carlos Baron and Ariceli Leon do the rumba in 'El Son de la Misión'\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Baron and Ariceli Leon do the rumba in ‘El Son de la Misión’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Baron breaks into a rumba, with Araceli Leon, a 25 year old former student at CMC, born in the Mission and still living there.\u003c/p>\n\u003cp>Leon co-hosts \u003cem>El Son de la Misión. \u003c/em>She says\u003cem> \u003c/em>she thinks her old teachers’ concerns are right on. “Money is starting to speak way louder and taking over so much,” Leon says. “And the most important thing is we’re still here and the culture still remains.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the point of the song cycle, say Leon, Baron, and Calloway, who’ve spent most of their lives in the Mission. They want their songs to teach the newest residents to respect the cultural mix that’s made this oldest neighborhood of the city such a special place.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\">El\u003c/a>\u003cem>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\"> Son de la Misión\u003c/a>,\u003c/em> a new musical theater work, opens with a quote from an old Santana Latin rock number, and continues as a series of songs and stories highlighting 50 years of the Mission District’s history, from Latino enclave to hipster hangout. There’s doo-wop and soul, Latin jazz and salsa, rock \u003cem>en español\u003c/em>, and a rap track about the death of Mission and Bernal Heights native \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Alex Nieto,\u003c/a> killed by San Francisco police in 2014.\u003c/p>\n\u003cp>The Mission is at the center of the Bay Area’s growing fight over gentrification. And now the \u003ca href=\"http://sfcmc.org/?gclid=CNvyqqvGyMsCFZNgfgodC-QMbA\" target=\"_blank\" rel=\"noopener\">Community Music Center \u003c/a>(CMC), a Mission music school celebrating 95 years in the neighborhood, has commissioned a piece to tell some of that story. \u003cem>El Son de la Misión \u003c/em>plays at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/el-son-de-la-mision/#.VusSP-IrKJA\" target=\"_blank\" rel=\"noopener\">Brava Theater Saturday, Mar. 19 and Sunday, Mar. 20.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11414791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414791\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/006-800x495.jpg\" alt=\"Composer and music teacher John Calloway\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer and music teacher John Calloway \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like a ballad, it’s a narrative,” says \u003cem>El Son\u003c/em> composer and musician \u003ca href=\"https://www.facebook.com/johncallowaymusic/\" target=\"_blank\" rel=\"noopener\">John Calloway\u003c/a>. He’s been teaching music to Mission kids at CMC and in east side high schools for 30 years. And many of the 45 singers and musicians in the show have been his students.\u003c/p>\n\u003cp>“The piece is meant to be a neighborhood gathering,” says Community Music Center’s program director Sylvia Sherman. “You see four generations transmitting culture. It’s like a large family.”\u003c/p>\n\u003cp>That family shares its pride in its musical heritage and its grievances over the way the community has changed in the past decade. “This is the perfect time to tell this story because of gentrification,” Calloway says. “Maybe it’s too strong to use genocide, but there are things happening right now in the Mission that are very alarming.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>El Son\u003c/em> features bits of the neighborhood’s history, both cultural and political, written and performed by longtime \u003ca href=\"http://news.sfsu.edu/news/experts/carlos-baron\" target=\"_blank\" rel=\"noopener\">SF State Theater professor Carlos Baron\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11414795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414795\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-800x495.jpg\" alt=\"SF State Theater Professor Carlos Baron\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF State Theater Professor Carlos Baron \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point in the piece, Baron explains how he too has been displaced by high rents in the Mission (he’s moved to Daly City), then offers a half-joking olive branch to the tech community often blamed for gentrifying the neighborhood. “We have to dance, we have to do stuff creatively in order to heal,” Baron says in the show. “Why not invite some hipsters to dance salsa, you know. It’s called \u003cem>La Rumba del Hipster\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_11414797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414797\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/003-800x495.jpg\" alt=\"Carlos Baron and Ariceli Leon do the rumba in 'El Son de la Misión'\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Baron and Ariceli Leon do the rumba in ‘El Son de la Misión’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Baron breaks into a rumba, with Araceli Leon, a 25 year old former student at CMC, born in the Mission and still living there.\u003c/p>\n\u003cp>Leon co-hosts \u003cem>El Son de la Misión. \u003c/em>She says\u003cem> \u003c/em>she thinks her old teachers’ concerns are right on. “Money is starting to speak way louder and taking over so much,” Leon says. “And the most important thing is we’re still here and the culture still remains.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the point of the song cycle, say Leon, Baron, and Calloway, who’ve spent most of their lives in the Mission. They want their songs to teach the newest residents to respect the cultural mix that’s made this oldest neighborhood of the city such a special place.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are a lot of jokes about drummers. For example, what do you call a drummer without a girlfriend? Homeless.\u003c/p>\n\u003cp>But a violent incident between a busking drummer and a would-be thief at San Francisco’s Fisherman’s Wharf Wednesday could be a set up for a new addition to the drummer joke canon. First, the details:\u003c/p>\n\u003cp>Around 5:30pm on March 16, a 27-year-old woman attempted to steal from the tip jar of a 57-year-old drummer playing on the sidewalk near Pier 43, according to the San Francisco Police Department.\u003c/p>\n\u003cp>When the drummer attempted to stop her from taking his hard-earned cash, she began hitting him with a skateboard. In response, he pulled what police described as a “pipe” from his drum set and smacked her on the head, according to the incident report.\u003c/p>\n\u003cp>Soon after the police arrived, arrested the woman and took her to a nearby hospital for treatment — the drummer’s blow left a gash on her head but, according to the report, her injuries were not life-threatening. The report also declared that the drummer’s attack was in self-defense.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Calls to the SFPD for updates on the suspect had not been returned by Thursday afternoon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for a new drummer joke: What do you get if you try to steal money from a drummer? A beat you can’t dance to.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are a lot of jokes about drummers. For example, what do you call a drummer without a girlfriend? Homeless.\u003c/p>\n\u003cp>But a violent incident between a busking drummer and a would-be thief at San Francisco’s Fisherman’s Wharf Wednesday could be a set up for a new addition to the drummer joke canon. First, the details:\u003c/p>\n\u003cp>Around 5:30pm on March 16, a 27-year-old woman attempted to steal from the tip jar of a 57-year-old drummer playing on the sidewalk near Pier 43, according to the San Francisco Police Department.\u003c/p>\n\u003cp>When the drummer attempted to stop her from taking his hard-earned cash, she began hitting him with a skateboard. In response, he pulled what police described as a “pipe” from his drum set and smacked her on the head, according to the incident report.\u003c/p>\n\u003cp>Soon after the police arrived, arrested the woman and took her to a nearby hospital for treatment — the drummer’s blow left a gash on her head but, according to the report, her injuries were not life-threatening. The report also declared that the drummer’s attack was in self-defense.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Q: What’s special about the elevator at Bloomingdales?\u003c/em>\u003cbr>\n\u003cem> A: It’s the only thing a Jewish girl will go down on.\u003c/em>\u003c/p>\n\u003cp>Jews have been parting their lips since long before the parting of the Red Sea, and have a sense of humor that’s kinkier than a rabbi’s sidelocks. So it makes perfect sense for the \u003ca href=\"https://www.jccsf.org\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a> (JCCSF) to peek under the covers of the Jewish sexual experience in \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> — a new series of performances, lectures and workshops that runs through the end of May.\u003c/p>\n\u003cp>“Jews are some of the sexiest people around and good healthy sex is a Jewish value for sure,” says Barbara Lane, director of the JCCSF’s Arts & Ideas program. “If this helps get people out of their heads and into their bodies, then far out.”\u003c/p>\n\u003cfigure id=\"attachment_11414654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg\" alt=\"Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Leland Bobbe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The action begins on Friday, Mar. 18 with \u003cem>Take it Off! The New Burlesque\u003c/em>, a spicy revue featuring, among other attributes, a pogo striptease act and some of the burlesque scene’s most vivacious exponents like Miss Dirty Martini, Julie Atlas Muz, Miss Harvest Moon, Roky Roulette and Kitten on the Keys.\u003c/p>\n\u003cp>Sex columnist Dan Savage makes an appearance on Monday, Mar. 21, and on Thursday, Mar. 24, JCCSF presents an evening of bawdy storytelling in which a lineup of creative types share sundry sexploits alongside live music and an activity called “Bang-o!” which, allegedly “dares to go where Bingo does not.”\u003c/p>\n\u003cfigure id=\"attachment_11414787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414787\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Bawdy-Storytelling_image1-Photo-by-Neuroptik-Photography-800x534.jpg\" alt=\"‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Neuroptik Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April, the series continues with, among other come-hither curiosities, a night of romantic music from the folks at the ever-inventive \u003cem>UnderCover Presents\u003c/em> series. But don’t worry: Lionel Ritchie’s “Hello” might have been selected by \u003cem>The New York Times\u003c/em> as one of “\u003ca href=\"http://www.nytimes.com/interactive/2016/03/10/magazine/25-songs-that-tell-us-where-music-is-going.html\" target=\"_blank\" rel=\"noopener\">25 songs that tell us where music is going\u003c/a>,” but the mawkish ’80s ballad is unlikely to make an appearance at this evening of cover songs to kiss to. And there’s also an intriguing evening later in the month devoted to animal reproduction involving “dinosaur misogyny, female octopi capable of killing males during intercourse, a homosexual flamingo couple, and promiscuous pandas” hosted by zoologist and BBC broadcaster Jules Howard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it’s racy,” Lane says of the entire \u003cem>Uninhibited About Sex\u003c/em> program. “But it’s also responsible. We’re not being salacious just to be salacious. Hopefully we’re being informative and educational.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> runs through Tuesday, May 31 at the Jewish Community Center of San Francisco. For more information, \u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">go here.\u003c/a>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Q: What’s special about the elevator at Bloomingdales?\u003c/em>\u003cbr>\n\u003cem> A: It’s the only thing a Jewish girl will go down on.\u003c/em>\u003c/p>\n\u003cp>Jews have been parting their lips since long before the parting of the Red Sea, and have a sense of humor that’s kinkier than a rabbi’s sidelocks. So it makes perfect sense for the \u003ca href=\"https://www.jccsf.org\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a> (JCCSF) to peek under the covers of the Jewish sexual experience in \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> — a new series of performances, lectures and workshops that runs through the end of May.\u003c/p>\n\u003cp>“Jews are some of the sexiest people around and good healthy sex is a Jewish value for sure,” says Barbara Lane, director of the JCCSF’s Arts & Ideas program. “If this helps get people out of their heads and into their bodies, then far out.”\u003c/p>\n\u003cfigure id=\"attachment_11414654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg\" alt=\"Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Leland Bobbe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The action begins on Friday, Mar. 18 with \u003cem>Take it Off! The New Burlesque\u003c/em>, a spicy revue featuring, among other attributes, a pogo striptease act and some of the burlesque scene’s most vivacious exponents like Miss Dirty Martini, Julie Atlas Muz, Miss Harvest Moon, Roky Roulette and Kitten on the Keys.\u003c/p>\n\u003cp>Sex columnist Dan Savage makes an appearance on Monday, Mar. 21, and on Thursday, Mar. 24, JCCSF presents an evening of bawdy storytelling in which a lineup of creative types share sundry sexploits alongside live music and an activity called “Bang-o!” which, allegedly “dares to go where Bingo does not.”\u003c/p>\n\u003cfigure id=\"attachment_11414787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414787\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Bawdy-Storytelling_image1-Photo-by-Neuroptik-Photography-800x534.jpg\" alt=\"‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Neuroptik Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April, the series continues with, among other come-hither curiosities, a night of romantic music from the folks at the ever-inventive \u003cem>UnderCover Presents\u003c/em> series. But don’t worry: Lionel Ritchie’s “Hello” might have been selected by \u003cem>The New York Times\u003c/em> as one of “\u003ca href=\"http://www.nytimes.com/interactive/2016/03/10/magazine/25-songs-that-tell-us-where-music-is-going.html\" target=\"_blank\" rel=\"noopener\">25 songs that tell us where music is going\u003c/a>,” but the mawkish ’80s ballad is unlikely to make an appearance at this evening of cover songs to kiss to. And there’s also an intriguing evening later in the month devoted to animal reproduction involving “dinosaur misogyny, female octopi capable of killing males during intercourse, a homosexual flamingo couple, and promiscuous pandas” hosted by zoologist and BBC broadcaster Jules Howard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think it’s racy,” Lane says of the entire \u003cem>Uninhibited About Sex\u003c/em> program. “But it’s also responsible. We’re not being salacious just to be salacious. Hopefully we’re being informative and educational.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> runs through Tuesday, May 31 at the Jewish Community Center of San Francisco. For more information, \u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">go here.\u003c/a>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The challenges facing San Francisco’s art community are myriad, and their causes range from the actions of individual landlords to global economic trends. Many individuals and organizations are searching for ways help the arts prosper, from crowdfunding art projects to establishing non-profit asset development trusts.\u003c/p>\n\u003cp>[contextly_sidebar id=”AbpyaCxDT6lRRG4ZI4qkrmemNIvEAssV”]The \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project\u003c/a> (MSP), opening to the public on Friday, March 18, aims to help stem the flow of artists and galleries out of the Bay Area. The three-building arts complex in San Francisco’s Dogpatch neighborhood is the new home for 10 galleries, one arts nonprofit, 35 artist studios, an art storage business, and a restaurant and bar (opening in the fall). The gallery spaces are rented at below market rate, and because of zoning restrictions, artists and galleries do not need to worry about being evicted to make room for offices or condos. The landlords would be unlikely to do that anyway.\u003c/p>\n\u003cp>Andy Rappaport, a retired venture capitalist and photographer, and Deborah Rappaport, a philanthropist and jewelry designer, undertook this project following a community discussion two years ago about the state of the arts in San Francisco. The Rappaports’ goals for MSP are to provide long-term stability to artists and galleries and to create a hub for contemporary art.\u003c/p>\n\u003cfigure id=\"attachment_11406040\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11406040 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>MSP is situated on the eastern edge of the so-called DoReMi (\u003cb>Do\u003c/b>gpatch, Pot\u003cstrong>re\u003c/strong>ro, \u003cb>Mi\u003c/b>ssion) arts district, home to a number of relocated arts spaces and long-time residents. MSP’s Dogpatch neighbors include \u003ca href=\"http://workshopresidence.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Workshop Residence\u003c/a>, \u003ca href=\"http://www.romeryounggallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Romer Young Gallery\u003c/a>, the \u003ca href=\"http://sfmcd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Craft and Design\u003c/a>, the \u003ca href=\"http://themidwaysf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Midway\u003c/a>, and the \u003ca href=\"http://www.sfai.edu/about-sfai/facilities\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute’s graduate center\u003c/a>. Nearby is \u003ca href=\"https://www.cca.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">California College of the Arts\u003c/a>, \u003ca href=\"https://www.creativityexplored.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Creativity Explored\u003c/a>, \u003ca href=\"http://fusedspace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">fusedspace\u003c/a>, \u003ca href=\"https://sfcb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Center for the Book\u003c/a>, \u003ca href=\"http://www.wattis.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute for Contemporary Arts\u003c/a>, and \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">several\u003c/a> \u003ca href=\"http://www.briangrossfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">other\u003c/a> \u003ca href=\"http://www.hosfeltgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">galleries\u003c/a>.\u003c/p>\n\u003cp>MSP is close to Muni and Interstate 280, yet it can still feel like it’s tucked in a far-flung corner of the city. The 10 resident galleries will host first Saturday openings (the opening month is an exception), a critical mass that might be able to quash the neighborhood’s perceived remoteness. Prior to the neighborhood’s ongoing atrophy, many art enthusiasts dutifully found their way downtown, one Thursday night a month, to the many openings at 49 Geary. MSP possesses the potential to command similar attention with a compelling and diverse calendar of shows. Several MSP galleries are former downtown tenants, including \u003ca href=\"http://www.anglimgilbertgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anglim Gilbert Gallery\u003c/a>, \u003ca href=\"http://www.nancytoomeyfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nancy Toomey Fine Art\u003c/a> (formerly Toomey Tourell Fine Arts), \u003ca href=\"http://Rena%20Bransten%20Fine%20Art\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Projects\u003c/a>, and \u003ca href=\"http://www.themesandprojects.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Themes + Projects\u003c/a> (formerly Modernbook).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joining these established galleries are a number of artist-run and alternative art spaces whose long-term existence could depend on MSP’s alternative business model. In summer 2015, \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bass & Reiner Gallery\u003c/a> was \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\" target=\"_blank\" rel=\"noopener noreferrer\">displaced from their Mission District location\u003c/a>. The gallery looked at other potential spaces, but found none with terms as favorable as MSP’s. “Moving into Minnesota Street Project has essentially made it possible for us to continue to exist,” says Emily Reynolds, one of Bass & Reiner’s four co-directors.\u003c/p>\n\u003cfigure id=\"attachment_11406041\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11406041\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>For Bass & Reiner, the move isn’t just about survival but the prospect of thriving. “As a standalone gallery that visitors needed to buzz into and then take an elevator to reach,” Reynolds says of the gallery’s former space within Studio 17 at Mission and 17th Streets, “we could only convince the most adventurous art lovers to come see what we were doing.” At MSP, she’s looking forward to brighter prospects.\u003c/p>\n\u003cp>“It’s comforting to be in a building where I know I’m protected by landlords that are passionate about the arts,” says Andrew McClintock, director of \u003ca href=\"http://sfaq.us/ever-gold-projects/\" target=\"_blank\" rel=\"noopener noreferrer\">Ever Gold [Projects]\u003c/a> (formerly Ever Gold Gallery), which is moving to MSP from the Tenderloin. But McClintock sees increased opportunity beyond the agreeable rent. He says his new gallery will be bigger and cleaner, and that the Dogpatch in general has more room “to think and breathe” — and to park.\u003c/p>\n\u003cp>The proximity of established galleries to artist-run spaces is exciting; the potential within these combinations will be on display during the opening night. Anglim Gilbert Gallery shows work by San Francisco-based \u003ca href=\"http://enriquechagoya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Enrique Chagoya\u003c/a>, an established painter and printmaker whose art is included in major museum collections across the country. A group show at Rena Bransten Projects includes work from prominent visual artists like \u003ca href=\"http://www.doughallstudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Hall\u003c/a>, \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>, \u003ca href=\"http://artsites.ucsc.edu/faculty/lord/\" target=\"_blank\" rel=\"noopener noreferrer\">Chip Lord\u003c/a>, and \u003ca href=\"http://www.dreamlandnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.etaletc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Et al. etc.\u003c/a> (a second gallery from Chinatown’s Et al.) shows work by \u003ca href=\"http://jacquelinegordon.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacqueline Gordon\u003c/a> and \u003ca href=\"http://www.margowolowiec.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Margo Wolowiec\u003c/a>. Bass & Reiner inaugurates their new space with a site-specific installation by \u003ca href=\"http://www.miemogensen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mie Hørlyck Mogensen\u003c/a> and \u003ca href=\"http://www.maycwilson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">May Wilson\u003c/a>. Gordon, Mogensen, Wilson and Wolowiec are all relatively recent art school graduates, a category the 18 California College of the Arts MFA candidates showing in the MSP gallery reserved for outside institutions and curators will soon join.\u003c/p>\n\u003cfigure id=\"attachment_11411805\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11411805\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg\" alt=\"Mie Hørlyck Mogensen, Untitled (detail), installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner.jpg 610w\" sizes=\"auto, (max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Mie Hørlyck Mogensen, \u003ci>Untitled (detail)\u003c/i>, installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\u003c/figcaption>\u003c/figure>\n\u003cp>MSP’s artist studio program also values professional integration. Early-career artists and designers like \u003ca href=\"http://bethabrahamson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Abrahamson\u003c/a>, \u003ca href=\"http://brittanyatkinsonphotography.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Atkinson\u003c/a>, and \u003ca href=\"http://www.hennavainio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Henna Vainio\u003c/a> will share facilities with an impressive roster of mid-career and established artists, including \u003ca href=\"http://www.lynnhershman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lynn Hershman Leeson\u003c/a>, \u003ca href=\"http://sean-mcfarland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean McFarland\u003c/a>, \u003ca href=\"http://www.ratio3.org/artists/mitzi-pederson\" target=\"_blank\" rel=\"noopener noreferrer\">Mitzi Pederson\u003c/a>, and \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Taraneh Hemami\u003c/a>. Various sources have described these studios as renting at or just below market rates, but with terms, facilities, and landlords that would be difficult to find elsewhere.\u003c/p>\n\u003cp>MSP is not a nonprofit organization, despite its benevolent aims. The Rappaports say that a for-profit structure affords them the flexibility to act quickly. It also allows them to offer services, such as a 100,000-cubic-foot museum-quality art storage facility, that subsidizes the galleries and studios. Cautionary skepticism of this business model is not inappropriate: for-profit business practices regularly push galleries and artists out of the Bay Area, and there will almost always be a venture more profitable than contemporary art. But if the actions of landlords speak to their values, optimism like Reynolds’ and McClintock’s may be warranted.\u003c/p>\n\u003cp>See you at the opening.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Minnesota Street Project\u003c/strong> and its 10 gallery tenants celebrate their grand opening Friday, March 18, 6-10pm. Visit \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">minnesotastreetproject.com\u003c/a> for more information.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The challenges facing San Francisco’s art community are myriad, and their causes range from the actions of individual landlords to global economic trends. Many individuals and organizations are searching for ways help the arts prosper, from crowdfunding art projects to establishing non-profit asset development trusts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>The \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project\u003c/a> (MSP), opening to the public on Friday, March 18, aims to help stem the flow of artists and galleries out of the Bay Area. The three-building arts complex in San Francisco’s Dogpatch neighborhood is the new home for 10 galleries, one arts nonprofit, 35 artist studios, an art storage business, and a restaurant and bar (opening in the fall). The gallery spaces are rented at below market rate, and because of zoning restrictions, artists and galleries do not need to worry about being evicted to make room for offices or condos. The landlords would be unlikely to do that anyway.\u003c/p>\n\u003cp>Andy Rappaport, a retired venture capitalist and photographer, and Deborah Rappaport, a philanthropist and jewelry designer, undertook this project following a community discussion two years ago about the state of the arts in San Francisco. The Rappaports’ goals for MSP are to provide long-term stability to artists and galleries and to create a hub for contemporary art.\u003c/p>\n\u003cfigure id=\"attachment_11406040\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11406040 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_07-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>MSP is situated on the eastern edge of the so-called DoReMi (\u003cb>Do\u003c/b>gpatch, Pot\u003cstrong>re\u003c/strong>ro, \u003cb>Mi\u003c/b>ssion) arts district, home to a number of relocated arts spaces and long-time residents. MSP’s Dogpatch neighbors include \u003ca href=\"http://workshopresidence.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Workshop Residence\u003c/a>, \u003ca href=\"http://www.romeryounggallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Romer Young Gallery\u003c/a>, the \u003ca href=\"http://sfmcd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Craft and Design\u003c/a>, the \u003ca href=\"http://themidwaysf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Midway\u003c/a>, and the \u003ca href=\"http://www.sfai.edu/about-sfai/facilities\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Art Institute’s graduate center\u003c/a>. Nearby is \u003ca href=\"https://www.cca.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">California College of the Arts\u003c/a>, \u003ca href=\"https://www.creativityexplored.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Creativity Explored\u003c/a>, \u003ca href=\"http://fusedspace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">fusedspace\u003c/a>, \u003ca href=\"https://sfcb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Center for the Book\u003c/a>, \u003ca href=\"http://www.wattis.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute for Contemporary Arts\u003c/a>, and \u003ca href=\"https://cclarkgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">several\u003c/a> \u003ca href=\"http://www.briangrossfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">other\u003c/a> \u003ca href=\"http://www.hosfeltgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">galleries\u003c/a>.\u003c/p>\n\u003cp>MSP is close to Muni and Interstate 280, yet it can still feel like it’s tucked in a far-flung corner of the city. The 10 resident galleries will host first Saturday openings (the opening month is an exception), a critical mass that might be able to quash the neighborhood’s perceived remoteness. Prior to the neighborhood’s ongoing atrophy, many art enthusiasts dutifully found their way downtown, one Thursday night a month, to the many openings at 49 Geary. MSP possesses the potential to command similar attention with a compelling and diverse calendar of shows. Several MSP galleries are former downtown tenants, including \u003ca href=\"http://www.anglimgilbertgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anglim Gilbert Gallery\u003c/a>, \u003ca href=\"http://www.nancytoomeyfineart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nancy Toomey Fine Art\u003c/a> (formerly Toomey Tourell Fine Arts), \u003ca href=\"http://Rena%20Bransten%20Fine%20Art\" target=\"_blank\" rel=\"noopener noreferrer\">Rena Bransten Projects\u003c/a>, and \u003ca href=\"http://www.themesandprojects.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Themes + Projects\u003c/a> (formerly Modernbook).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Joining these established galleries are a number of artist-run and alternative art spaces whose long-term existence could depend on MSP’s alternative business model. In summer 2015, \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bass & Reiner Gallery\u003c/a> was \u003ca href=\"http://ww2.kqed.org/arts/2015/08/24/after-displacement-redlick-artists-rally-against-changing-mission/\" target=\"_blank\" rel=\"noopener noreferrer\">displaced from their Mission District location\u003c/a>. The gallery looked at other potential spaces, but found none with terms as favorable as MSP’s. “Moving into Minnesota Street Project has essentially made it possible for us to continue to exist,” says Emily Reynolds, one of Bass & Reiner’s four co-directors.\u003c/p>\n\u003cfigure id=\"attachment_11406041\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11406041\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg\" alt=\"Courtesy of Minnesota Street Project\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Minnesota_08-400x267.jpg 400w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy of Minnesota Street Project\u003c/figcaption>\u003c/figure>\n\u003cp>For Bass & Reiner, the move isn’t just about survival but the prospect of thriving. “As a standalone gallery that visitors needed to buzz into and then take an elevator to reach,” Reynolds says of the gallery’s former space within Studio 17 at Mission and 17th Streets, “we could only convince the most adventurous art lovers to come see what we were doing.” At MSP, she’s looking forward to brighter prospects.\u003c/p>\n\u003cp>“It’s comforting to be in a building where I know I’m protected by landlords that are passionate about the arts,” says Andrew McClintock, director of \u003ca href=\"http://sfaq.us/ever-gold-projects/\" target=\"_blank\" rel=\"noopener noreferrer\">Ever Gold [Projects]\u003c/a> (formerly Ever Gold Gallery), which is moving to MSP from the Tenderloin. But McClintock sees increased opportunity beyond the agreeable rent. He says his new gallery will be bigger and cleaner, and that the Dogpatch in general has more room “to think and breathe” — and to park.\u003c/p>\n\u003cp>The proximity of established galleries to artist-run spaces is exciting; the potential within these combinations will be on display during the opening night. Anglim Gilbert Gallery shows work by San Francisco-based \u003ca href=\"http://enriquechagoya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Enrique Chagoya\u003c/a>, an established painter and printmaker whose art is included in major museum collections across the country. A group show at Rena Bransten Projects includes work from prominent visual artists like \u003ca href=\"http://www.doughallstudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Hall\u003c/a>, \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>, \u003ca href=\"http://artsites.ucsc.edu/faculty/lord/\" target=\"_blank\" rel=\"noopener noreferrer\">Chip Lord\u003c/a>, and \u003ca href=\"http://www.dreamlandnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Waters\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.etaletc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Et al. etc.\u003c/a> (a second gallery from Chinatown’s Et al.) shows work by \u003ca href=\"http://jacquelinegordon.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacqueline Gordon\u003c/a> and \u003ca href=\"http://www.margowolowiec.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Margo Wolowiec\u003c/a>. Bass & Reiner inaugurates their new space with a site-specific installation by \u003ca href=\"http://www.miemogensen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mie Hørlyck Mogensen\u003c/a> and \u003ca href=\"http://www.maycwilson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">May Wilson\u003c/a>. Gordon, Mogensen, Wilson and Wolowiec are all relatively recent art school graduates, a category the 18 California College of the Arts MFA candidates showing in the MSP gallery reserved for outside institutions and curators will soon join.\u003c/p>\n\u003cfigure id=\"attachment_11411805\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11411805\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg\" alt=\"Mie Hørlyck Mogensen, Untitled (detail), installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\" width=\"398\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/bassreiner.jpg 610w\" sizes=\"auto, (max-width: 398px) 100vw, 398px\">\u003cfigcaption class=\"wp-caption-text\">Mie Hørlyck Mogensen, \u003ci>Untitled (detail)\u003c/i>, installation at Bass & Reiner Gallery, 2016. Photo: Chris Grunder\u003c/figcaption>\u003c/figure>\n\u003cp>MSP’s artist studio program also values professional integration. Early-career artists and designers like \u003ca href=\"http://bethabrahamson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Abrahamson\u003c/a>, \u003ca href=\"http://brittanyatkinsonphotography.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Atkinson\u003c/a>, and \u003ca href=\"http://www.hennavainio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Henna Vainio\u003c/a> will share facilities with an impressive roster of mid-career and established artists, including \u003ca href=\"http://www.lynnhershman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lynn Hershman Leeson\u003c/a>, \u003ca href=\"http://sean-mcfarland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean McFarland\u003c/a>, \u003ca href=\"http://www.ratio3.org/artists/mitzi-pederson\" target=\"_blank\" rel=\"noopener noreferrer\">Mitzi Pederson\u003c/a>, and \u003ca href=\"http://www.taranehhemami.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Taraneh Hemami\u003c/a>. Various sources have described these studios as renting at or just below market rates, but with terms, facilities, and landlords that would be difficult to find elsewhere.\u003c/p>\n\u003cp>MSP is not a nonprofit organization, despite its benevolent aims. The Rappaports say that a for-profit structure affords them the flexibility to act quickly. It also allows them to offer services, such as a 100,000-cubic-foot museum-quality art storage facility, that subsidizes the galleries and studios. Cautionary skepticism of this business model is not inappropriate: for-profit business practices regularly push galleries and artists out of the Bay Area, and there will almost always be a venture more profitable than contemporary art. But if the actions of landlords speak to their values, optimism like Reynolds’ and McClintock’s may be warranted.\u003c/p>\n\u003cp>See you at the opening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Minnesota Street Project\u003c/strong> and its 10 gallery tenants celebrate their grand opening Friday, March 18, 6-10pm. Visit \u003ca href=\"http://minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">minnesotastreetproject.com\u003c/a> for more information.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Will the Berkeley Flea Market Survive a Changing Neighborhood?",
"title": "Will the Berkeley Flea Market Survive a Changing Neighborhood?",
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"content": "\u003cp>You can hear the rumble of a drum circle from more than a block away, and it grows louder and louder as you approach Berkeley's Ashby BART Station. Every Saturday and Sunday -- except when it rains -- a freewheeling jam session brings together drummers and other musicians in the BART parking lot.\u003c/p>\n\u003cp>Guy Fuerte, who's been banging on his Cajon -- a large rectangular drum -- says he's been coming to play here for 20 years, and it's kept him from \"making bad decisions.\"\u003c/p>\n\u003cp>\"It just gave me a place to come to express myself freely,” says Fuerte, who is now friends with many other musicians who come to play. “I was intimidated by the playing, by the music. I didn’t know how it all came together. I didn’t know how to use my hands to create such rhythms, but they invited me into it and showed me how ... they were patient with me.\"\u003c/p>\n\u003cfigure id=\"attachment_10888778\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10888778 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/circle-dancer-from-above-1-400x225.jpg\" alt=\"The drum circle is an integral part of the flea market's culture\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The drum circle is an integral part of the flea market's culture. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This drum circle is part of the \u003ca href=\"http://www.berkeleyfleamarket.com/\" target=\"_blank\">Berkeley Flea Market\u003c/a>, which has served as a gathering place for African-Americans and other local residents for decades. Now the city of Berkeley is planning improvements to the surrounding neighborhood, and many are concerned that will contribute to more displacement of longtime residents — and of this well-loved market.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/252024798?secret_token=s-KFtwH\" 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>Walking the aisles, you can find everything from handmade soaps to used electronics and classic comic books. But one thing is impossible to miss: booths full of items celebrating or exploring black culture. At Pamela Jackson's booth you can find what she calls \"slave documents, mammy/pappy cookie jars, all that racist memorabilia.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I sell history, is what I sell,\" explains Jackson, who's been a vendor for five years. She's been coming to shop here since the Ashby BART Station opened in 1973.\u003c/p>\n\u003cfigure id=\"attachment_10854611\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10854611 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/black-history-photos-qut-400x225.jpg\" alt=\"Many vendors sell items commemorating black history\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-1440x811.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Many vendors sell items commemorating black history. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>BART originally didn’t run trains on the weekends, says Errol Davis, with Community Services United, a nonprofit group that sponsors the market. “The parking lot was empty, so people felt they had the right to go in and set up and sell.”\u003c/p>\n\u003cp>Davis says the market is now a vital community gathering spot and a source of income for vendors.\u003c/p>\n\u003cp>“It’s not just African-American. There’s people out here from India, Tibet, Africa, South America, I mean from all over the world,\" says Davis. \"To wipe it out, they wouldn’t be able to make the extra money it takes to put their kids through Cal or whatever they’re doing with their income from the flea market. It would be gone.”\u003c/p>\n\u003ch4>Planning For The Future\u003c/h4>\n\u003cp>In 2014, Berkeley \u003ca href=\"http://www.mercurynews.com/ci_25899895/berkeley-lands-750-000-adeline-district-revitalization-planning\" target=\"_blank\">received a $750,000 grant\u003c/a> from the Metropolitan Transportation Commission, and designated the \u003ca href=\"http://www.ci.berkeley.ca.us/AdelineCorridor/\" target=\"_blank\">Adeline corridor\u003c/a> a priority development area. The roughly 1-mile commercial strip stretches from the Oakland border to the intersection of Shattuck Avenue and Dwight Way.\u003c/p>\n\u003cp>The MTC money is funding dozens of community meetings to get input on the area's future.\u003c/p>\n\u003cp>“This is the last neighborhood in Berkeley that’s gotten this kind of attention,\" says City Councilman \u003ca href=\"http://www.ci.berkeley.ca.us/council3/\" target=\"_blank\">Max Anderson\u003c/a>, who represents District 3. \"We’ve got Solano, we’ve got Elmwood, we’ve got Shattuck, we’ve got Telegraph, and finally after 40 years, we’re gonna do something about South Berkeley.”\u003c/p>\n\u003cp>Anderson, who lives a block away from Adeline Street, says it used to be the heart of a thriving black neighborhood, before BART built the station and \"demolished that whole Adeline corridor.\"\u003c/p>\n\u003cfigure id=\"attachment_10888781\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-10888781\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/market-BART-logo-and-stairs-400x225.jpg\" alt=\"The flea market takes place every weekend in the Ashby BART station parking lot.\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The flea market takes place every weekend in the Ashby BART station parking lot. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Forty-three homes were eminent-domained and the construction lasted four or five years. And so all of those businesses there that were largely African-American went under ... everything from eating establishments, to funeral homes to you name it,\" says Anderson.\u003c/p>\n\u003cp>\"So here we are in 2016, trying to undo something that happened 40 years ago.”\u003c/p>\n\u003cp>Affordable housing is something that many in this neighborhood would welcome, and that's under consideration. But it may be the very thing that ends up threatening the flea market. Alisa Shen, with Berkeley’s planning department, says the city is \"just trying to solicit ideas\" at this point, but the BART parking lot is one of the few available sites where new housing could be built.\u003c/p>\n\u003cp>\"We've heard the community wants more affordable housing, and typically you look at surface parking lots or vacant lots,” says Shen.\u003c/p>\n\u003ch4>Learning From The Past?\u003c/h4>\n\u003cp>In 2006, a proposal to build residential housing on the Ashby BART parking lot site \u003ca href=\"http://www.berkeleydailyplanet.com/issue/2006-01-20/article/23234?headline=Neighbors-Oppose-Ashby-BART-Project-By-RICHARD-BRENNEMAN&status=301\" target=\"_blank\">was beaten back by neighborhood residents\u003c/a>. But Shen says the city learned its lessons during similar revisioning initiatives for downtown and West Berkeley. Many felt that developers dominated those discussions and local residents were locked out.\u003c/p>\n\u003cp>This time around, the city is conducting a survey of the flea market vendors, and holding dozens of community meetings, where they’re hearing from a lot of skeptics. At a meeting with the Community Services United board of directors and other concerned citizens, \u003ca href=\"http://berkeleycopwatch.org/\" target=\"_blank\">Berkeley Copwatch\u003c/a>'s Andrea Prichett sounded off.\u003c/p>\n\u003cp>“I feel like what’s gonna end up is, you’re gonna be building expensive apartments for people who don’t live here yet, and that the people that do live here are gonna be forced out,\" Prichett told Shen. \"And then you’re gonna be able to say that the flea market was part of the process.\"\u003c/p>\n\u003cp>The market could be relocated onto Adeline Street, which would be closed to traffic in one direction on the weekends.\u003c/p>\n\u003cp>Pamela Jackson is trying to organize her fellow vendors to create their own vision for the future. They recently held their first meeting. Jackson, who was born and raised in San Francisco, says she doesn’t want to see history repeat itself, where neighborhood improvements have ended up displacing black residents.\u003c/p>\n\u003cp>\"My family was very prominent in the \u003ca href=\"http://www.pbs.org/kqed/fillmore/learning/story.html\" target=\"_blank\">Fillmore area\u003c/a> when redevelopment came through there, so that kinda tugs at my heartstrings. To remember what happened in San Francisco to the black community there, and then to hear the same rhetoric 40, 50 years later here in Berkeley now.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The planning department hopes to have a proposal for the Adeline corridor by next year. The City Council will then have the final say.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can hear the rumble of a drum circle from more than a block away, and it grows louder and louder as you approach Berkeley's Ashby BART Station. Every Saturday and Sunday -- except when it rains -- a freewheeling jam session brings together drummers and other musicians in the BART parking lot.\u003c/p>\n\u003cp>Guy Fuerte, who's been banging on his Cajon -- a large rectangular drum -- says he's been coming to play here for 20 years, and it's kept him from \"making bad decisions.\"\u003c/p>\n\u003cp>\"It just gave me a place to come to express myself freely,” says Fuerte, who is now friends with many other musicians who come to play. “I was intimidated by the playing, by the music. I didn’t know how it all came together. I didn’t know how to use my hands to create such rhythms, but they invited me into it and showed me how ... they were patient with me.\"\u003c/p>\n\u003cfigure id=\"attachment_10888778\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10888778 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/circle-dancer-from-above-1-400x225.jpg\" alt=\"The drum circle is an integral part of the flea market's culture\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The drum circle is an integral part of the flea market's culture. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This drum circle is part of the \u003ca href=\"http://www.berkeleyfleamarket.com/\" target=\"_blank\">Berkeley Flea Market\u003c/a>, which has served as a gathering place for African-Americans and other local residents for decades. Now the city of Berkeley is planning improvements to the surrounding neighborhood, and many are concerned that will contribute to more displacement of longtime residents — and of this well-loved market.\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/252024798?secret_token=s-KFtwH&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/252024798?secret_token=s-KFtwH'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Walking the aisles, you can find everything from handmade soaps to used electronics and classic comic books. But one thing is impossible to miss: booths full of items celebrating or exploring black culture. At Pamela Jackson's booth you can find what she calls \"slave documents, mammy/pappy cookie jars, all that racist memorabilia.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I sell history, is what I sell,\" explains Jackson, who's been a vendor for five years. She's been coming to shop here since the Ashby BART Station opened in 1973.\u003c/p>\n\u003cfigure id=\"attachment_10854611\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10854611 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/black-history-photos-qut-400x225.jpg\" alt=\"Many vendors sell items commemorating black history\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-1440x811.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Many vendors sell items commemorating black history. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>BART originally didn’t run trains on the weekends, says Errol Davis, with Community Services United, a nonprofit group that sponsors the market. “The parking lot was empty, so people felt they had the right to go in and set up and sell.”\u003c/p>\n\u003cp>Davis says the market is now a vital community gathering spot and a source of income for vendors.\u003c/p>\n\u003cp>“It’s not just African-American. There’s people out here from India, Tibet, Africa, South America, I mean from all over the world,\" says Davis. \"To wipe it out, they wouldn’t be able to make the extra money it takes to put their kids through Cal or whatever they’re doing with their income from the flea market. It would be gone.”\u003c/p>\n\u003ch4>Planning For The Future\u003c/h4>\n\u003cp>In 2014, Berkeley \u003ca href=\"http://www.mercurynews.com/ci_25899895/berkeley-lands-750-000-adeline-district-revitalization-planning\" target=\"_blank\">received a $750,000 grant\u003c/a> from the Metropolitan Transportation Commission, and designated the \u003ca href=\"http://www.ci.berkeley.ca.us/AdelineCorridor/\" target=\"_blank\">Adeline corridor\u003c/a> a priority development area. The roughly 1-mile commercial strip stretches from the Oakland border to the intersection of Shattuck Avenue and Dwight Way.\u003c/p>\n\u003cp>The MTC money is funding dozens of community meetings to get input on the area's future.\u003c/p>\n\u003cp>“This is the last neighborhood in Berkeley that’s gotten this kind of attention,\" says City Councilman \u003ca href=\"http://www.ci.berkeley.ca.us/council3/\" target=\"_blank\">Max Anderson\u003c/a>, who represents District 3. \"We’ve got Solano, we’ve got Elmwood, we’ve got Shattuck, we’ve got Telegraph, and finally after 40 years, we’re gonna do something about South Berkeley.”\u003c/p>\n\u003cp>Anderson, who lives a block away from Adeline Street, says it used to be the heart of a thriving black neighborhood, before BART built the station and \"demolished that whole Adeline corridor.\"\u003c/p>\n\u003cfigure id=\"attachment_10888781\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-10888781\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/market-BART-logo-and-stairs-400x225.jpg\" alt=\"The flea market takes place every weekend in the Ashby BART station parking lot.\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The flea market takes place every weekend in the Ashby BART station parking lot. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Forty-three homes were eminent-domained and the construction lasted four or five years. And so all of those businesses there that were largely African-American went under ... everything from eating establishments, to funeral homes to you name it,\" says Anderson.\u003c/p>\n\u003cp>\"So here we are in 2016, trying to undo something that happened 40 years ago.”\u003c/p>\n\u003cp>Affordable housing is something that many in this neighborhood would welcome, and that's under consideration. But it may be the very thing that ends up threatening the flea market. Alisa Shen, with Berkeley’s planning department, says the city is \"just trying to solicit ideas\" at this point, but the BART parking lot is one of the few available sites where new housing could be built.\u003c/p>\n\u003cp>\"We've heard the community wants more affordable housing, and typically you look at surface parking lots or vacant lots,” says Shen.\u003c/p>\n\u003ch4>Learning From The Past?\u003c/h4>\n\u003cp>In 2006, a proposal to build residential housing on the Ashby BART parking lot site \u003ca href=\"http://www.berkeleydailyplanet.com/issue/2006-01-20/article/23234?headline=Neighbors-Oppose-Ashby-BART-Project-By-RICHARD-BRENNEMAN&status=301\" target=\"_blank\">was beaten back by neighborhood residents\u003c/a>. But Shen says the city learned its lessons during similar revisioning initiatives for downtown and West Berkeley. Many felt that developers dominated those discussions and local residents were locked out.\u003c/p>\n\u003cp>This time around, the city is conducting a survey of the flea market vendors, and holding dozens of community meetings, where they’re hearing from a lot of skeptics. At a meeting with the Community Services United board of directors and other concerned citizens, \u003ca href=\"http://berkeleycopwatch.org/\" target=\"_blank\">Berkeley Copwatch\u003c/a>'s Andrea Prichett sounded off.\u003c/p>\n\u003cp>“I feel like what’s gonna end up is, you’re gonna be building expensive apartments for people who don’t live here yet, and that the people that do live here are gonna be forced out,\" Prichett told Shen. \"And then you’re gonna be able to say that the flea market was part of the process.\"\u003c/p>\n\u003cp>The market could be relocated onto Adeline Street, which would be closed to traffic in one direction on the weekends.\u003c/p>\n\u003cp>Pamela Jackson is trying to organize her fellow vendors to create their own vision for the future. They recently held their first meeting. Jackson, who was born and raised in San Francisco, says she doesn’t want to see history repeat itself, where neighborhood improvements have ended up displacing black residents.\u003c/p>\n\u003cp>\"My family was very prominent in the \u003ca href=\"http://www.pbs.org/kqed/fillmore/learning/story.html\" target=\"_blank\">Fillmore area\u003c/a> when redevelopment came through there, so that kinda tugs at my heartstrings. To remember what happened in San Francisco to the black community there, and then to hear the same rhetoric 40, 50 years later here in Berkeley now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The planning department hopes to have a proposal for the Adeline corridor by next year. The City Council will then have the final say.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>ORLANDO, Fla. — Bowing to years of public pressure, SeaWorld announced Thursday that it will immediately stop breeding killer whales and making them perform crowd-pleasing tricks at its theme parks in San Diego, San Antonio and Orlando.\u003c/p>\n\u003cp>SeaWorld’s remaining killer whales, or orcas, will still be on display, but in “new, inspiring natural orca encounters,” rather than theatrical programs, the company said.\u003c/p>\n\u003cp>Attendance at SeaWorld’s parks dropped after the 2013 release of the documentary “Blackfish,” which was highly critical of the orca program. SeaWorld reported a fourth-quarter loss of $11 million in February.\u003c/p>\n\u003cp>“Society’s attitudes have shifted,” said Joel Manby, president and chief executive officer of SeaWorld Entertainment Inc., during a telephone news conference. “It wasn’t worth fighting that. We needed to move to where society was moving. That’s why it’s now and not two years in the future.”\u003c/p>\n\u003cp>The new shows will begin next year at SeaWorld Entertainment Inc.’s San Diego park, before expanding to its San Antonio park and then to the Orlando, Florida, park in 2019.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Orcas have long been a centerpiece of the SeaWorld parks. Shows at the Shamu stadium in San Diego became the main draw in the 1970s and helped make SeaWorld a top tourist attraction. San Diego was the original home of Shamu, SeaWorld’s first orca.\u003c/p>\n\u003cp>[contextly_sidebar id=”EWbbi2UhHMS0H1TXKoqoFFRfmyv1hKtn”]\u003c/p>\n\u003cp>SeaWorld officials said they were also forming a partnership with the Humane Society to help educate guests on animal welfare and conservation issues through interpretive programs at the parks and by expanded advocacy for wild whales, seals and other marine creatures.\u003c/p>\n\u003cp>Humane Society CEO Wayne Pacelle said his organization and SeaWorld had been longtime foes, but he said it was time to turn criticism into collaboration.\u003c/p>\n\u003cp>“We don’t come to this discussion with any naivete about the operations at SeaWorld,” Pacelle said.\u003c/p>\n\u003cp>Criticism over keeping killer whales in captivity increased in 2010 after an orca named Tilikum grabbed trainer Dawn Brancheau after a “Dine with Shamu” show and pulled her into the pool, killing her. The death was highlighted in “Blackfish.” Tilikum, who was also involved in the deaths of two others, is now very sick. He has been at SeaWorld Orlando for 23 years.\u003c/p>\n\u003cp>Last month, SeaWorld acknowledged sending workers to infiltrate the animal rights group People for the Ethical Treatment of Animals. At the time, Manby said the employees had been sent to PETA to protect the safety of its employees and customers, but he vowed to end the practice.\u003c/p>\n\u003cp>PETA, which has been especially critical of SeaWorld, said the company needs to do more for the animals.\u003c/p>\n\u003cp>“SeaWorld must open its tanks to the oceans to allow the orcas it now holds captive to have some semblance of a life outside these prison tanks,” PETA spokeswoman Colleen O’Brien said in a statement.\u003c/p>\n\u003cp>By August 2014, SeaWorld said it would build new, larger environments for its marine mammals and fund additional research and conservation efforts. The project has yet to get off the ground.\u003c/p>\n\u003cp>Last October, the California Coastal Commission approved a $100 million expansion of SeaWorld’s tanks for its orcas in San Diego but also banned breeding of the captive animals. SeaWorld said it would end the orca shows in San Diego by 2017, and the company also filed a lawsuit saying the California commission had overreached when it banned breeding at that park.\u003c/p>\n\u003cp>SeaWorld hasn’t been alone in dealing with the public outrage that followed “Blackfish” and the 2009 documentary “The Cove,” which showed the killing of dolphins in Japan. The National Aquarium in Baltimore announced in 2014 that it would explore retiring its eight dolphins to an oceanside sanctuary, and elected officials in some California cities passed resolutions stating that whales and dolphins have the right to freedom from captivity.\u003c/p>\n\u003cp>Rep. Adam Schiff, a Democrat from Los Angeles County who introduced the Orca Responsibility and Care Advancement Act in 2015, applauded SeaWorld’s announcement Thursday.\u003c/p>\n\u003cp>“These changes are something that advocates have been urging for years, and I think SeaWorld will find that visitors will reward their actions with a renewed interest in the parks,” Schiff said in a statement Thursday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press writer Jennifer Kay in Miami contributed this report.\u003cbr>\n\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>ORLANDO, Fla. — Bowing to years of public pressure, SeaWorld announced Thursday that it will immediately stop breeding killer whales and making them perform crowd-pleasing tricks at its theme parks in San Diego, San Antonio and Orlando.\u003c/p>\n\u003cp>SeaWorld’s remaining killer whales, or orcas, will still be on display, but in “new, inspiring natural orca encounters,” rather than theatrical programs, the company said.\u003c/p>\n\u003cp>Attendance at SeaWorld’s parks dropped after the 2013 release of the documentary “Blackfish,” which was highly critical of the orca program. SeaWorld reported a fourth-quarter loss of $11 million in February.\u003c/p>\n\u003cp>“Society’s attitudes have shifted,” said Joel Manby, president and chief executive officer of SeaWorld Entertainment Inc., during a telephone news conference. “It wasn’t worth fighting that. We needed to move to where society was moving. That’s why it’s now and not two years in the future.”\u003c/p>\n\u003cp>The new shows will begin next year at SeaWorld Entertainment Inc.’s San Diego park, before expanding to its San Antonio park and then to the Orlando, Florida, park in 2019.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Orcas have long been a centerpiece of the SeaWorld parks. Shows at the Shamu stadium in San Diego became the main draw in the 1970s and helped make SeaWorld a top tourist attraction. San Diego was the original home of Shamu, SeaWorld’s first orca.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>SeaWorld officials said they were also forming a partnership with the Humane Society to help educate guests on animal welfare and conservation issues through interpretive programs at the parks and by expanded advocacy for wild whales, seals and other marine creatures.\u003c/p>\n\u003cp>Humane Society CEO Wayne Pacelle said his organization and SeaWorld had been longtime foes, but he said it was time to turn criticism into collaboration.\u003c/p>\n\u003cp>“We don’t come to this discussion with any naivete about the operations at SeaWorld,” Pacelle said.\u003c/p>\n\u003cp>Criticism over keeping killer whales in captivity increased in 2010 after an orca named Tilikum grabbed trainer Dawn Brancheau after a “Dine with Shamu” show and pulled her into the pool, killing her. The death was highlighted in “Blackfish.” Tilikum, who was also involved in the deaths of two others, is now very sick. He has been at SeaWorld Orlando for 23 years.\u003c/p>\n\u003cp>Last month, SeaWorld acknowledged sending workers to infiltrate the animal rights group People for the Ethical Treatment of Animals. At the time, Manby said the employees had been sent to PETA to protect the safety of its employees and customers, but he vowed to end the practice.\u003c/p>\n\u003cp>PETA, which has been especially critical of SeaWorld, said the company needs to do more for the animals.\u003c/p>\n\u003cp>“SeaWorld must open its tanks to the oceans to allow the orcas it now holds captive to have some semblance of a life outside these prison tanks,” PETA spokeswoman Colleen O’Brien said in a statement.\u003c/p>\n\u003cp>By August 2014, SeaWorld said it would build new, larger environments for its marine mammals and fund additional research and conservation efforts. The project has yet to get off the ground.\u003c/p>\n\u003cp>Last October, the California Coastal Commission approved a $100 million expansion of SeaWorld’s tanks for its orcas in San Diego but also banned breeding of the captive animals. SeaWorld said it would end the orca shows in San Diego by 2017, and the company also filed a lawsuit saying the California commission had overreached when it banned breeding at that park.\u003c/p>\n\u003cp>SeaWorld hasn’t been alone in dealing with the public outrage that followed “Blackfish” and the 2009 documentary “The Cove,” which showed the killing of dolphins in Japan. The National Aquarium in Baltimore announced in 2014 that it would explore retiring its eight dolphins to an oceanside sanctuary, and elected officials in some California cities passed resolutions stating that whales and dolphins have the right to freedom from captivity.\u003c/p>\n\u003cp>Rep. Adam Schiff, a Democrat from Los Angeles County who introduced the Orca Responsibility and Care Advancement Act in 2015, applauded SeaWorld’s announcement Thursday.\u003c/p>\n\u003cp>“These changes are something that advocates have been urging for years, and I think SeaWorld will find that visitors will reward their actions with a renewed interest in the parks,” Schiff said in a statement Thursday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press writer Jennifer Kay in Miami contributed this report.\u003cbr>\n\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Frank Sinatra Jr., who carried on his famous father’s legacy with his own music career, has died. He was 72.\u003c/p>\n\u003cp>The Sinatra family said in a statement to The Associated Press that Sinatra died unexpectedly Wednesday of cardiac arrest while on tour in Daytona Beach, Florida.\u003c/p>\n\u003cp>The statement said the family mourns the untimely passing of their son, brother, father and uncle. No other details were provided.\u003c/p>\n\u003cp>Kidnapped and held for ransom when he was 19, Sinatra Jr. had already followed his dad into the music business by then. He eventually worked for his father as his musical director and conductor. He performed the National Anthem at a New York Yankees game last year.\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"slug": "spanish-town-looks-to-revive-success-of-botched-fresco-restoration",
"title": "Spanish Town Looks to Revive Success of Botched Fresco Restoration",
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"headTitle": "Spanish Town Looks to Revive Success of Botched Fresco Restoration | KQED",
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"content": "\u003cp>More than three years after a botched fresco restoration by an octogenarian painter became a major tourist attraction for a northern Spanish town, local officials looking to inject new life into the phenomenon opened a center Wednesday that celebrates the fresco.\u003c/p>\n\u003cp>Borja Mayor Eduardo Arilla said 160,000 people had come to see the fresco since the story of Cecilia Gimenez’s restoration of a Christ fresco in a town sanctuary went viral in 2012. He said with the new center, the town hopes to keep attracting up to 30,000 visitors annually.\u003c/p>\n\u003cp>Gimenez, 85, smiled as she entered the new center in a wheelchair for the inauguration ceremony. She became a sensation when pictures spread on the Internet of an “Ecce Homo” (“Behold the Man”) mural she disfigured while trying to restore it. Twitter users redubbed it “Ecce Mono” (“Behold the Monkey”).\u003c/p>\n\u003cp>The decision to open the center was aimed at giving “the painting a new impetus,” Arilla said. Also attending the ceremony Wednesday was the granddaughter of the little-known Spanish painter of the near 100-year-old original, Elias Garcia Martinez.\u003c/p>\n\u003cp>The new center brings together stories, photographs and videos documenting the impact of the restoration. Visitors can see the fresco in the adjoining chapel — and for those feeling inspired, there are canvases to try to paint your own version.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It also displays the fresco’s new official merchandise — ranging from T-shirts to teacups — which also will be available on Amazon. Proceeds are to be split between Gimenez and the sanctuary’s home for retirees.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"description": "More than three years after a botched fresco restoration by an octogenarian painter became a major tourist attraction for a northern Spanish town, local officials looking to inject new life into the phenomenon opened a center Wednesday that celebrates the fresco. Borja Mayor Eduardo Arilla said 160,000 people had come to see the fresco since the story of Cecilia Gimenez's restoration of a Christ fresco in a town sanctuary went viral in 2012. He said with the new center, the town hopes to keep attracting up to 30,000 visitors annually. Gimenez, 85, smiled as she entered the new center in",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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.",
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"radiolab": {
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},
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"tagline": "Art is where you find it",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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