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"title": "Bay Area Artists Dive into the Big Blue",
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"content": "\u003cp>Perched as we are on the edge of the North American continent with the Pacific Ocean continuously nipping at our heels, it’s no surprise that Bay Area visual artists look to the water for inspiration.\u003c/p>\n\u003cp>Addressing rising sea levels, the maritime history of San Francisco, the creatures who dwell beneath the surface and the very substance of our watery surroundings, local artists are tapping into a rich underwater terrain.\u003c/p>\n\u003cp>As KQED joins the BBC at the Monterey Aquarium for a three-day maritime extravaganza, \u003ca href=\"http://www.pbs.org/big-blue-live/home/\">BIG BLUE LIVE\u003c/a> in the coming days, KQED Arts marks the occasion with profiles of 10 Bay Area artists mining the depths of that same ocean.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922446\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922446\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Anno400-400x301.jpg\" alt=\"Kim Anno, Still from 'Water World: Berkeley,' 2014. (Photo: the artist)\" width=\"400\" height=\"301\">\u003cfigcaption class=\"wp-caption-text\">Kim Anno, Still from ‘Water World: Berkeley,’ 2014. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Anno\u003c/h3>\n\u003cp>In her ongoing project \u003ci>Men and Women in Water Cities\u003c/i>, painter and multimedia artist \u003ca href=\"http://www.kimanno.com/\" target=\"_blank\" rel=\"noopener\">Kim Anno\u003c/a> creates large-scale events in collaboration with actors, composers and dancers that culminate as finely-edited films. Most recently, \u003ci>Water City: Berkeley\u003c/i> asks, “What is the future when the seas have entered the cities?” Among the half-submerged performers, chants from \u003ci>Oedipus Rex\u003c/i>, pom-pom wielding cheerleaders and crowds of people running through wet sand, Anno paints a picture of a deranged yet poetic society attempting make meaning in a newly watery world.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922431\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922431\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Manila400-400x267.jpg\" alt=\"Michael Arcega, Installation view of 'El Conquistadork,' 2004. (Photo: the artist)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Michael Arcega, Installation view of ‘El Conquistadork,’ 2004. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Michael Arcega\u003c/h3>\n\u003cp>\u003ca href=\"http://arcega.us/home.html\" target=\"_blank\" rel=\"noopener\">Michael Arcega\u003c/a>’s playful approaches to language, the history of colonization and other uneven power dynamics often center around bodies of water. In 2001, he constructed a miniature Manila galleon out of manila folders, christened the ship “El Conquistadork” and \u003ca href=\"https://www.youtube.com/watch?v=ouclXOrMG84\" target=\"”_blank”\" rel=\"noopener\">successfully rowed it around Tomales Bay\u003c/a>, a historical stop along a famed, centuries-long trade route between Mexico City, Manila and California. Ten years later, Arcega built “Baby,” a collapsible Pacific outrigger canoe. The artist sailed the vessel in numerous bodies of water across the United States, reversing the path of Manifest Destiny by bringing a Pacific ship to the Atlantic.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922432\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922432\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Archive400-400x238.jpg\" alt=\"A People's Archive of Sinking and Melting, 'New York Collection,' collected Nov. 5, 2012. (Photo: Amy Balkin)\" width=\"400\" height=\"238\">\u003cfigcaption class=\"wp-caption-text\">A People’s Archive of Sinking and Melting, ‘New York Collection,’ collected Nov. 5, 2012. (Photo: Amy Balkin)\u003c/figcaption>\u003c/figure>\n\u003ch3>Amy Balkin\u003c/h3>\n\u003cp>Amy Balkin’s ongoing \u003ci>\u003ca href=\"http://www.sinkingandmelting.org/\" target=\"_blank\" rel=\"noopener\">A People’s Archive of Sinking and Melting\u003c/a>\u003c/i> is a collection of items from places around the world that may disappear due to the effects of climate change, whether that’s rising sea levels, melting glaciers, desertification or coastal erosion. By asking the public to contribute items, the archive argues for climate change as a series of personal experiences rather than a set of abstract figures. Venetian confetti joins detritus from New Orleans and a growing California collection to document a changing world we all occupy and can’t ignore.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922533\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Elliott400-400x276.jpg\" alt=\"Marshall Elliott, 'Blow Ups,' 2015. (Photo: the artist)\" width=\"400\" height=\"276\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Blow Ups,’ 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Marshall Elliott\u003c/h3>\n\u003cp>For his series \u003ci>The Hidden Can Still Wreck You and Would Be Better Made Visible\u003c/i>, \u003ca href=\"http://marshallelliott.com/\" target=\"_blank\" rel=\"noopener\">Marshall Elliott\u003c/a> adopts different material forms, such as sculpture, video, works on paper, commemorative plates, to represent the invisible. His focus? The Bedrock Knobs of San Francisco — small rocks in the San Francisco Bay that met an explosive fate at the end of the 19th century when the US Army Corps of Engineers blasted the rocks as navigation hazards, forever altering the natural landscape of the Bay. Elliott’s work, small-scale gestures honoring formations deemed too dangerous to exist, respectfully pull a forgotten bit of Bay Area history from the depths of obscurity.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922433\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922433\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Escott400-400x267.jpg\" alt=\"Alicia Escott, 'How to Buy Train Oil.' 2015. (Photo: the artist)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Alicia Escott, ‘How to Buy Train Oil.’ 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Alicia Escott\u003c/h3>\n\u003cp>When \u003ca href=\"http://aliciaescott.com/home.html\" target=\"_blank\" rel=\"noopener\">Alicia Escott\u003c/a> moved her studio from the Mission to the Outer Sunset more than three years ago, her practice shifted accordingly. In \u003ci>Letters Sent Sometime After The Continents Separated,\u003c/i> the artist writes missives to extinct or soon-to-be extinct species in the voice of a former lover, filling them in on all that’s happened since they disappeared. Once such letter, addressed to the blue whale and dated from 2105, is tragic and funny: “Ironically there is more water here than ever. It is difficult to reconcile my longing for you and our days by the sea, amid soaring prices for landlocked real-estate in a world much underwater. Between the foghorn calls, on stormy days, sometimes I think I almost hear your voice.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922434\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922434\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Geis400-400x264.jpg\" alt=\"Tanja Geis, 'Muddle of Littoral Artifacts,' 2015. (Photo: Berkeley Art Center)\" width=\"400\" height=\"264\">\u003cfigcaption class=\"wp-caption-text\">Tanja Geis, ‘Muddle of Littoral Artifacts,’ 2015. (Photo: Berkeley Art Center)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tanja Geis\u003c/h3>\n\u003cp>Recent UC Berkeley MFA graduate \u003ca href=\"http://www.tanjageis.com/website/work.html\" target=\"_blank\" rel=\"noopener\">Tanja Geis\u003c/a> uses material pulled from the San Francisco Bay across media: mud becomes pigment in her large-scale works on paper, objects pulled from the water form hanging sculptures and underwater footage creates mesmerizing video. Not only did her work force me to look up the meaning of the word “littoral” (of, relating to, or situated on the shore of the sea or a lake), it asks the viewer to turn their understanding of the world upside down and see what’s concealed just below the surface.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922437\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922437\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Hartman400-400x300.jpg\" alt=\"Lauren Hartman, Archives of the Society of Submerged Culture, 2015. (Photo: the artist)\" width=\"400\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Lauren Hartman, Archives of the Society of Submerged Culture, 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Lauren Hartman\u003c/h3>\n\u003cp>For the past few years, mixed media artist \u003ca href=\"http://artbylaurenhartman.com/home.html\" target=\"_blank\" rel=\"noopener\">Lauren Hartman\u003c/a> has focused her practice on human interactions with the sea. From embroideries of oil rig explosions to paintings of shipwrecks made with gold leaf and mother of pearl on panel, she painstakingly renders the follies of our attempts to harness nature. A recent social practice project, \u003ca href=\"http://www.societyofsubmergedculture.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Society of Submerged Culture\u003c/i>\u003c/a> brought together historians, explorers, archeologists, artists, underwater enthusiasts, sailors and swimmers to document and discuss the history of San Francisco (a city built on top of abandoned Gold Rush-era ships) and its coastline.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922439\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922439\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Hockaday400-400x267.jpg\" alt=\"Constance Hockaday, 'All These Darlings and Now Us,' 2014. (Performer: Persia; Photo: Catherine McElhone)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Constance Hockaday, ‘All These Darlings and Now Us,’ 2014. (Performer: Persia; Photo: Catherine McElhone)\u003c/figcaption>\u003c/figure>\n\u003ch3>Constance Hockaday\u003c/h3>\n\u003cp>\u003ca href=\"http://www.constancehockaday.com/\" target=\"_blank\" rel=\"noopener\">Constance Hockaday\u003c/a>’s boat-related projects have taken her from \u003ca href=\"http://www.constancehockaday.com/content-exploration/\" target=\"_blank\" rel=\"noopener\">Far Rockaway, Queens\u003c/a> to \u003ca href=\"http://www.constancehockaday.com/neue-berlin/\" target=\"_blank\" rel=\"noopener\">Treasure Island’s Clipper Cove\u003c/a> as she creates temporary communities on the water in response to changing economic and social conditions on dry land. For \u003ci>All These Darlings and Now Us\u003c/i>, Hockaday invited dancers and patrons from the recently-closed Lusty Lady and Esta Noche (a North Beach worker-owned strip club and a Mission district Latino gay bar, respectively) to participate in a floating peepshow, celebrating the temporary freedom of life offshore.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922441\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922441\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Skandali400-400x225.jpg\" alt=\"Dimitra Skandali, 'My Aegean Portal,' 2015. (Photo: the artist/Bridge Residency)\" width=\"400\" height=\"225\">\u003cfigcaption class=\"wp-caption-text\">Dimitra Skandali, ‘My Aegean Portal,’ 2015. (Photo: the artist/Bridge Residency)\u003c/figcaption>\u003c/figure>\n\u003ch3>Dimitra Skandali\u003c/h3>\n\u003cp>Raised on the Greek island of Paros, \u003ca href=\"http://dimitraskandali.com/home.html\" target=\"_blank\" rel=\"noopener\">Dimitra Skandali\u003c/a> routinely references the ocean in her installation and sound-based work. Her \u003ca href=\"//alterspace.co/exhibitions/dimitra-skandali-loves-fears-and-hopes/%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">recent exhibition\u003c/a> at Alter Space turned the subterranean gallery into the closest thing to a sea cave you’ll get on dry land. Using simple materials — steel wool, wire, strands of sea grass and reflected light — she created a space that was at once magical and claustrophobic, accurately channeling both the beauty and danger of the sea.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922440\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922440\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Sollars400-400x225.jpg\" alt=\"Chris Sollars, 'The Swimmer, 2013. (Video still: the artist)\" width=\"400\" height=\"225\">\u003cfigcaption class=\"wp-caption-text\">Chris Sollars, ‘The Swimmer, 2013. (Video still: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Chris Sollars\u003c/h3>\n\u003cp>Multimedia artist Chris Sollars has long engaged with the watery edges of San Francisco, but nowhere so completely as in his 2013 solo show at Steven Wolf Fine Arts, \u003ci>\u003ca href=\"http://www.667shotwell.com/ChrisSollars/2013/the_swimmer_install.html\" target=\"_blank\" rel=\"noopener\">The Swimmer\u003c/a>\u003c/i>. Works in the delightfully-deadpan exhibit included barnacle-encrusted objects, documentation of Sollars walking the entire San Francisco coastline from Candlestick Point to Ocean Beach and a video inspired by John Cheever’s short story “The Swimmer,” in which Sollars traverses the city via bodies of water, from public swimming pool to dinky plaza fountain.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perched as we are on the edge of the North American continent with the Pacific Ocean continuously nipping at our heels, it’s no surprise that Bay Area visual artists look to the water for inspiration.\u003c/p>\n\u003cp>Addressing rising sea levels, the maritime history of San Francisco, the creatures who dwell beneath the surface and the very substance of our watery surroundings, local artists are tapping into a rich underwater terrain.\u003c/p>\n\u003cp>As KQED joins the BBC at the Monterey Aquarium for a three-day maritime extravaganza, \u003ca href=\"http://www.pbs.org/big-blue-live/home/\">BIG BLUE LIVE\u003c/a> in the coming days, KQED Arts marks the occasion with profiles of 10 Bay Area artists mining the depths of that same ocean.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922446\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922446\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Anno400-400x301.jpg\" alt=\"Kim Anno, Still from 'Water World: Berkeley,' 2014. (Photo: the artist)\" width=\"400\" height=\"301\">\u003cfigcaption class=\"wp-caption-text\">Kim Anno, Still from ‘Water World: Berkeley,’ 2014. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Anno\u003c/h3>\n\u003cp>In her ongoing project \u003ci>Men and Women in Water Cities\u003c/i>, painter and multimedia artist \u003ca href=\"http://www.kimanno.com/\" target=\"_blank\" rel=\"noopener\">Kim Anno\u003c/a> creates large-scale events in collaboration with actors, composers and dancers that culminate as finely-edited films. Most recently, \u003ci>Water City: Berkeley\u003c/i> asks, “What is the future when the seas have entered the cities?” Among the half-submerged performers, chants from \u003ci>Oedipus Rex\u003c/i>, pom-pom wielding cheerleaders and crowds of people running through wet sand, Anno paints a picture of a deranged yet poetic society attempting make meaning in a newly watery world.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922431\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922431\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Manila400-400x267.jpg\" alt=\"Michael Arcega, Installation view of 'El Conquistadork,' 2004. (Photo: the artist)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Michael Arcega, Installation view of ‘El Conquistadork,’ 2004. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Michael Arcega\u003c/h3>\n\u003cp>\u003ca href=\"http://arcega.us/home.html\" target=\"_blank\" rel=\"noopener\">Michael Arcega\u003c/a>’s playful approaches to language, the history of colonization and other uneven power dynamics often center around bodies of water. In 2001, he constructed a miniature Manila galleon out of manila folders, christened the ship “El Conquistadork” and \u003ca href=\"https://www.youtube.com/watch?v=ouclXOrMG84\" target=\"”_blank”\" rel=\"noopener\">successfully rowed it around Tomales Bay\u003c/a>, a historical stop along a famed, centuries-long trade route between Mexico City, Manila and California. Ten years later, Arcega built “Baby,” a collapsible Pacific outrigger canoe. The artist sailed the vessel in numerous bodies of water across the United States, reversing the path of Manifest Destiny by bringing a Pacific ship to the Atlantic.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922432\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922432\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Archive400-400x238.jpg\" alt=\"A People's Archive of Sinking and Melting, 'New York Collection,' collected Nov. 5, 2012. (Photo: Amy Balkin)\" width=\"400\" height=\"238\">\u003cfigcaption class=\"wp-caption-text\">A People’s Archive of Sinking and Melting, ‘New York Collection,’ collected Nov. 5, 2012. (Photo: Amy Balkin)\u003c/figcaption>\u003c/figure>\n\u003ch3>Amy Balkin\u003c/h3>\n\u003cp>Amy Balkin’s ongoing \u003ci>\u003ca href=\"http://www.sinkingandmelting.org/\" target=\"_blank\" rel=\"noopener\">A People’s Archive of Sinking and Melting\u003c/a>\u003c/i> is a collection of items from places around the world that may disappear due to the effects of climate change, whether that’s rising sea levels, melting glaciers, desertification or coastal erosion. By asking the public to contribute items, the archive argues for climate change as a series of personal experiences rather than a set of abstract figures. Venetian confetti joins detritus from New Orleans and a growing California collection to document a changing world we all occupy and can’t ignore.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922533\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Elliott400-400x276.jpg\" alt=\"Marshall Elliott, 'Blow Ups,' 2015. (Photo: the artist)\" width=\"400\" height=\"276\">\u003cfigcaption class=\"wp-caption-text\">Marshall Elliott, ‘Blow Ups,’ 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Marshall Elliott\u003c/h3>\n\u003cp>For his series \u003ci>The Hidden Can Still Wreck You and Would Be Better Made Visible\u003c/i>, \u003ca href=\"http://marshallelliott.com/\" target=\"_blank\" rel=\"noopener\">Marshall Elliott\u003c/a> adopts different material forms, such as sculpture, video, works on paper, commemorative plates, to represent the invisible. His focus? The Bedrock Knobs of San Francisco — small rocks in the San Francisco Bay that met an explosive fate at the end of the 19th century when the US Army Corps of Engineers blasted the rocks as navigation hazards, forever altering the natural landscape of the Bay. Elliott’s work, small-scale gestures honoring formations deemed too dangerous to exist, respectfully pull a forgotten bit of Bay Area history from the depths of obscurity.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922433\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922433\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Escott400-400x267.jpg\" alt=\"Alicia Escott, 'How to Buy Train Oil.' 2015. (Photo: the artist)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Alicia Escott, ‘How to Buy Train Oil.’ 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Alicia Escott\u003c/h3>\n\u003cp>When \u003ca href=\"http://aliciaescott.com/home.html\" target=\"_blank\" rel=\"noopener\">Alicia Escott\u003c/a> moved her studio from the Mission to the Outer Sunset more than three years ago, her practice shifted accordingly. In \u003ci>Letters Sent Sometime After The Continents Separated,\u003c/i> the artist writes missives to extinct or soon-to-be extinct species in the voice of a former lover, filling them in on all that’s happened since they disappeared. Once such letter, addressed to the blue whale and dated from 2105, is tragic and funny: “Ironically there is more water here than ever. It is difficult to reconcile my longing for you and our days by the sea, amid soaring prices for landlocked real-estate in a world much underwater. Between the foghorn calls, on stormy days, sometimes I think I almost hear your voice.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922434\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922434\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Geis400-400x264.jpg\" alt=\"Tanja Geis, 'Muddle of Littoral Artifacts,' 2015. (Photo: Berkeley Art Center)\" width=\"400\" height=\"264\">\u003cfigcaption class=\"wp-caption-text\">Tanja Geis, ‘Muddle of Littoral Artifacts,’ 2015. (Photo: Berkeley Art Center)\u003c/figcaption>\u003c/figure>\n\u003ch3>Tanja Geis\u003c/h3>\n\u003cp>Recent UC Berkeley MFA graduate \u003ca href=\"http://www.tanjageis.com/website/work.html\" target=\"_blank\" rel=\"noopener\">Tanja Geis\u003c/a> uses material pulled from the San Francisco Bay across media: mud becomes pigment in her large-scale works on paper, objects pulled from the water form hanging sculptures and underwater footage creates mesmerizing video. Not only did her work force me to look up the meaning of the word “littoral” (of, relating to, or situated on the shore of the sea or a lake), it asks the viewer to turn their understanding of the world upside down and see what’s concealed just below the surface.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922437\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922437\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Hartman400-400x300.jpg\" alt=\"Lauren Hartman, Archives of the Society of Submerged Culture, 2015. (Photo: the artist)\" width=\"400\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Lauren Hartman, Archives of the Society of Submerged Culture, 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Lauren Hartman\u003c/h3>\n\u003cp>For the past few years, mixed media artist \u003ca href=\"http://artbylaurenhartman.com/home.html\" target=\"_blank\" rel=\"noopener\">Lauren Hartman\u003c/a> has focused her practice on human interactions with the sea. From embroideries of oil rig explosions to paintings of shipwrecks made with gold leaf and mother of pearl on panel, she painstakingly renders the follies of our attempts to harness nature. A recent social practice project, \u003ca href=\"http://www.societyofsubmergedculture.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>Society of Submerged Culture\u003c/i>\u003c/a> brought together historians, explorers, archeologists, artists, underwater enthusiasts, sailors and swimmers to document and discuss the history of San Francisco (a city built on top of abandoned Gold Rush-era ships) and its coastline.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922439\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922439\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Hockaday400-400x267.jpg\" alt=\"Constance Hockaday, 'All These Darlings and Now Us,' 2014. (Performer: Persia; Photo: Catherine McElhone)\" width=\"400\" height=\"267\">\u003cfigcaption class=\"wp-caption-text\">Constance Hockaday, ‘All These Darlings and Now Us,’ 2014. (Performer: Persia; Photo: Catherine McElhone)\u003c/figcaption>\u003c/figure>\n\u003ch3>Constance Hockaday\u003c/h3>\n\u003cp>\u003ca href=\"http://www.constancehockaday.com/\" target=\"_blank\" rel=\"noopener\">Constance Hockaday\u003c/a>’s boat-related projects have taken her from \u003ca href=\"http://www.constancehockaday.com/content-exploration/\" target=\"_blank\" rel=\"noopener\">Far Rockaway, Queens\u003c/a> to \u003ca href=\"http://www.constancehockaday.com/neue-berlin/\" target=\"_blank\" rel=\"noopener\">Treasure Island’s Clipper Cove\u003c/a> as she creates temporary communities on the water in response to changing economic and social conditions on dry land. For \u003ci>All These Darlings and Now Us\u003c/i>, Hockaday invited dancers and patrons from the recently-closed Lusty Lady and Esta Noche (a North Beach worker-owned strip club and a Mission district Latino gay bar, respectively) to participate in a floating peepshow, celebrating the temporary freedom of life offshore.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922441\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922441\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Skandali400-400x225.jpg\" alt=\"Dimitra Skandali, 'My Aegean Portal,' 2015. (Photo: the artist/Bridge Residency)\" width=\"400\" height=\"225\">\u003cfigcaption class=\"wp-caption-text\">Dimitra Skandali, ‘My Aegean Portal,’ 2015. (Photo: the artist/Bridge Residency)\u003c/figcaption>\u003c/figure>\n\u003ch3>Dimitra Skandali\u003c/h3>\n\u003cp>Raised on the Greek island of Paros, \u003ca href=\"http://dimitraskandali.com/home.html\" target=\"_blank\" rel=\"noopener\">Dimitra Skandali\u003c/a> routinely references the ocean in her installation and sound-based work. Her \u003ca href=\"//alterspace.co/exhibitions/dimitra-skandali-loves-fears-and-hopes/%E2%80%9D\" target=\"”_blank”\" rel=\"noopener\">recent exhibition\u003c/a> at Alter Space turned the subterranean gallery into the closest thing to a sea cave you’ll get on dry land. Using simple materials — steel wool, wire, strands of sea grass and reflected light — she created a space that was at once magical and claustrophobic, accurately channeling both the beauty and danger of the sea.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10922440\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10922440\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Sollars400-400x225.jpg\" alt=\"Chris Sollars, 'The Swimmer, 2013. (Video still: the artist)\" width=\"400\" height=\"225\">\u003cfigcaption class=\"wp-caption-text\">Chris Sollars, ‘The Swimmer, 2013. (Video still: the artist)\u003c/figcaption>\u003c/figure>\n\u003ch3>Chris Sollars\u003c/h3>\n\u003cp>Multimedia artist Chris Sollars has long engaged with the watery edges of San Francisco, but nowhere so completely as in his 2013 solo show at Steven Wolf Fine Arts, \u003ci>\u003ca href=\"http://www.667shotwell.com/ChrisSollars/2013/the_swimmer_install.html\" target=\"_blank\" rel=\"noopener\">The Swimmer\u003c/a>\u003c/i>. Works in the delightfully-deadpan exhibit included barnacle-encrusted objects, documentation of Sollars walking the entire San Francisco coastline from Candlestick Point to Ocean Beach and a video inspired by John Cheever’s short story “The Swimmer,” in which Sollars traverses the city via bodies of water, from public swimming pool to dinky plaza fountain.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Wes Craven, Master Horror Movie Director, Dies at 76",
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"content": "\u003cp>Wes Craven, the legendary horror director behind the \u003cem>A Nightmare on Elm Street \u003c/em>and \u003cem>Scream \u003c/em>franchises, has died at 76.\u003c/p>\n\u003cp>His verified Twitter account \u003ca href=\"https://twitter.com/wescraven\" target=\"_blank\" rel=\"noopener\">posted about his death\u003c/a> Sunday evening. The Associated Press reports that he had brain cancer and died in his Los Angeles home, according to a statement from his family.\u003c/p>\n\u003cp>Craven’s early life didn’t presage a career in horror films. He was raised in a fundamentalist Baptist household, and went to a Christian college — one where, he \u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-wes-craven-retirement-plan-20100218-story.html\" target=\"_blank\" rel=\"noopener\">told the Los Angeles Times in 2010\u003c/a>, “you would be expelled if you were caught in a movie theater.”\u003c/p>\n\u003cp>Before his career as a horror movie maestro, Craven had a life in academia — he earned a master’s degree in philosophy and writing from Johns Hopkins University, and worked as an English professor. He also directed pornography before making his mark on the slasher genre.\u003c/p>\n\u003cp>In the ’70s and early ’80s, Craven directed \u003cem>Last House on the Left,\u003c/em> which quickly established his horror bona fides, followed by films including \u003cem>The Hills Have Eyes \u003c/em>and \u003cem>Swamp Thing. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then, in 1984, he released \u003cem>A Nightmare On Elm Street — \u003c/em>starring a 21-year-old unknown named Johnny Depp.\u003c/p>\n\u003cp>With the release, the AP notes, Craven “was credited with reinventing the teen horror genre” — not to mention starting an enormously successful series.\u003c/p>\n\u003cp>The famously prolific director went on to launch the popular \u003cem>Scream \u003c/em>franchise in the ’90s. Like much of his work, the \u003cem>Scream \u003c/em>movies mixed slasher gore with wry humor. He departed from the horror genre to direct \u003cem>Music of the Heart, \u003c/em>a drama starring Meryl Streep, which was nominated for two Oscars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Most recently, he served as executive producer for \u003cem>The Girl in the Photographs, \u003c/em>which is debuting at the \u003ca href=\"http://tiff.net/festivals/festival15/midnightmadness/the-girl-in-the-photographs\" target=\"_blank\" rel=\"noopener\">Toronto Film Festival next month\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wes+Craven%2C+Master+Horror+Movie+Director%2C+Dies+At+76&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The legendary director of \u003cem>Nightmare on Elm Street \u003c/em>and\u003cem> Scream \u003c/em>has died. His films, which often mixed slasher gore with wry humor, helped reinvent the horror genre.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wes Craven, the legendary horror director behind the \u003cem>A Nightmare on Elm Street \u003c/em>and \u003cem>Scream \u003c/em>franchises, has died at 76.\u003c/p>\n\u003cp>His verified Twitter account \u003ca href=\"https://twitter.com/wescraven\" target=\"_blank\" rel=\"noopener\">posted about his death\u003c/a> Sunday evening. The Associated Press reports that he had brain cancer and died in his Los Angeles home, according to a statement from his family.\u003c/p>\n\u003cp>Craven’s early life didn’t presage a career in horror films. He was raised in a fundamentalist Baptist household, and went to a Christian college — one where, he \u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-wes-craven-retirement-plan-20100218-story.html\" target=\"_blank\" rel=\"noopener\">told the Los Angeles Times in 2010\u003c/a>, “you would be expelled if you were caught in a movie theater.”\u003c/p>\n\u003cp>Before his career as a horror movie maestro, Craven had a life in academia — he earned a master’s degree in philosophy and writing from Johns Hopkins University, and worked as an English professor. He also directed pornography before making his mark on the slasher genre.\u003c/p>\n\u003cp>In the ’70s and early ’80s, Craven directed \u003cem>Last House on the Left,\u003c/em> which quickly established his horror bona fides, followed by films including \u003cem>The Hills Have Eyes \u003c/em>and \u003cem>Swamp Thing. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then, in 1984, he released \u003cem>A Nightmare On Elm Street — \u003c/em>starring a 21-year-old unknown named Johnny Depp.\u003c/p>\n\u003cp>With the release, the AP notes, Craven “was credited with reinventing the teen horror genre” — not to mention starting an enormously successful series.\u003c/p>\n\u003cp>The famously prolific director went on to launch the popular \u003cem>Scream \u003c/em>franchise in the ’90s. Like much of his work, the \u003cem>Scream \u003c/em>movies mixed slasher gore with wry humor. He departed from the horror genre to direct \u003cem>Music of the Heart, \u003c/em>a drama starring Meryl Streep, which was nominated for two Oscars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Most recently, he served as executive producer for \u003cem>The Girl in the Photographs, \u003c/em>which is debuting at the \u003ca href=\"http://tiff.net/festivals/festival15/midnightmadness/the-girl-in-the-photographs\" target=\"_blank\" rel=\"noopener\">Toronto Film Festival next month\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wes+Craven%2C+Master+Horror+Movie+Director%2C+Dies+At+76&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Oliver Sacks, Renowned Neurologist and Author, Dies at 82",
"headTitle": "Oliver Sacks, Renowned Neurologist and Author, Dies at 82 | KQED",
"content": "\u003cp>Oliver Sacks, the famed neurologist and best-selling author of books such as \u003cem>The Man Who Mistook His Wife for a Hat\u003c/em>, died of cancer Sunday in New York City at the age of 82, a long-time friend and colleague has confirmed.\u003c/p>\n\u003cp>The London-born academic’s 1973 memoir\u003cem> Awakenings\u003c/em>, about his efforts to use the drug L-Dopa to bring patients who survived the 1917-1928 encephalitis epidemic out of their persistent catatonic state, was turned into a 1990 Hollywood film starring Robin Williams and Robert De Niro. He was the author of a dozen other books.\u003c/p>\n\u003cp>A friend and colleague, Orrin Devinsky, who is a professor of neurology at New York University, where Sacks worked for many years, emailed NPR to confirm the death.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/08/31/science/oliver-sacks-dies-at-82-neurologist-and-author-explored-the-brains-quirks.html?_r=0\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“As a medical doctor and a writer, Dr. Sacks achieved a level of popular renown rare among scientists. More than a million copies of his books are in print in the United States, his work was adapted for film and stage, and he received about 10,000 letters a year. (‘I invariably reply to people under 10, over 90 or in prison,’ he once said.)\u003c/p>\n\u003cp>“Dr. Sacks variously described his books and essays as case histories, pathographies, clinical tales or ‘neurological novels.’ His subjects included Madeleine J., a blind woman who perceived her hands only as useless ‘lumps of dough’; Jimmie G., a submarine radio operator whose amnesia stranded him for more than three decades in 1945; and Dr. P. — the man who mistook his wife for a hat — whose brain lost the ability to decipher what his eyes were seeing.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Author Lisa Appignanesi, writing in \u003ca href=\"http://www.theguardian.com/books/2015/aug/30/oliver-sacks-dies-aged-82-eminent-neurologist-author-awakenings\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> earlier this year, said of Sacks that he could transform his subjects into grand characters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For all their lacks and losses, or what the medics call ‘deficits’, Sacks’s subjects have a capacious 19th-century humanity,” Appignanesi wrote. “No mere objects of hasty clinical notes, or articles in professional journals, his ‘patients’ are transformed by his interest, sympathetic gaze and ability to convey optimism in tragedy into grand characters who can transcend their conditions. They emerge as the very types of our neuroscientific age.”\u003c/p>\n\u003cp>In his later life, Sacks began studying hallucinations, partly inspired by his youthful experimentation with LSD. He wrote a book and conducted lectures on the subject. In an interview with Terry Gross, host of \u003ca href=\"http://www.npr.org/2013/06/21/193925787/oliver-sacks-exploring-how-hallucinations-happen\" target=\"_blank\" rel=\"noopener\">NPR’s Fresh Air\u003c/a>, in 2012, Sacks said:\u003c/p>\n\u003cp>“I was fascinated that one could have such perceptual changes, and also that they went with a certain feeling of significance, an almost numinous feeling. I’m strongly atheist by disposition, but nonetheless when this happened, I couldn’t help thinking, ‘That must be what the hand of God is like.’ ”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed-ssl.ted.com/talks/oliver_sacks_what_hallucination_reveals_about_our_minds.html\" width=\"560\" height=\"315\" frameborder=\"0\" scrolling=\"no\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Sacks did a TED Talk on the subject in 2009:\u003c/p>\n\u003cp>In an Op-Ed that appeared in the \u003cem>Times\u003c/em> in February, Sacks announced that what had started out as a melanoma in his eye had spread to his liver and that he didn’t have long to live.\u003c/p>\n\u003cp>“It is up to me now to choose how to live out the months that remain to me. I have to live in the richest, deepest, most productive way I can,” he wrote.\u003c/p>\n\u003cp>“I have been lucky enough to live past 80, and the 15 years allotted to me beyond Hume’s three score and five have been equally rich in work and love,” Sacks wrote. “In that time, I have published five books and completed an autobiography (rather longer than Hume’s few pages) to be published this spring; I have several other books nearly finished.”\u003c/p>\n\u003cp>And, in an opinion piece published in the \u003ca href=\"http://www.nytimes.com/2015/08/16/opinion/sunday/oliver-sacks-sabbath.html?smid=tw-nytimes\" target=\"_blank\" rel=\"noopener\">Times\u003c/a> earlier this month, Sacks wrote:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[N]ow, weak, short of breath, my once-firm muscles melted away by cancer, I find my thoughts, increasingly, not on the supernatural or spiritual, but on what is meant by living a good and worthwhile life — achieving a sense of peace within oneself. I find my thoughts drifting to the Sabbath, the day of rest, the seventh day of the week, and perhaps the seventh day of one’s life as well, when one can feel that one’s work is done, and one may, in good conscience, rest.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oliver+Sacks%2C+Renowned+Neurologist+And+Author%2C+Dies+At+82&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oliver Sacks, the famed neurologist and best-selling author of books such as \u003cem>The Man Who Mistook His Wife for a Hat\u003c/em>, died of cancer Sunday in New York City at the age of 82, a long-time friend and colleague has confirmed.\u003c/p>\n\u003cp>The London-born academic’s 1973 memoir\u003cem> Awakenings\u003c/em>, about his efforts to use the drug L-Dopa to bring patients who survived the 1917-1928 encephalitis epidemic out of their persistent catatonic state, was turned into a 1990 Hollywood film starring Robin Williams and Robert De Niro. He was the author of a dozen other books.\u003c/p>\n\u003cp>A friend and colleague, Orrin Devinsky, who is a professor of neurology at New York University, where Sacks worked for many years, emailed NPR to confirm the death.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/08/31/science/oliver-sacks-dies-at-82-neurologist-and-author-explored-the-brains-quirks.html?_r=0\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> writes:\u003c/p>\n\u003cblockquote>\n\u003cp>“As a medical doctor and a writer, Dr. Sacks achieved a level of popular renown rare among scientists. More than a million copies of his books are in print in the United States, his work was adapted for film and stage, and he received about 10,000 letters a year. (‘I invariably reply to people under 10, over 90 or in prison,’ he once said.)\u003c/p>\n\u003cp>“Dr. Sacks variously described his books and essays as case histories, pathographies, clinical tales or ‘neurological novels.’ His subjects included Madeleine J., a blind woman who perceived her hands only as useless ‘lumps of dough’; Jimmie G., a submarine radio operator whose amnesia stranded him for more than three decades in 1945; and Dr. P. — the man who mistook his wife for a hat — whose brain lost the ability to decipher what his eyes were seeing.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Author Lisa Appignanesi, writing in \u003ca href=\"http://www.theguardian.com/books/2015/aug/30/oliver-sacks-dies-aged-82-eminent-neurologist-author-awakenings\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> earlier this year, said of Sacks that he could transform his subjects into grand characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For all their lacks and losses, or what the medics call ‘deficits’, Sacks’s subjects have a capacious 19th-century humanity,” Appignanesi wrote. “No mere objects of hasty clinical notes, or articles in professional journals, his ‘patients’ are transformed by his interest, sympathetic gaze and ability to convey optimism in tragedy into grand characters who can transcend their conditions. They emerge as the very types of our neuroscientific age.”\u003c/p>\n\u003cp>In his later life, Sacks began studying hallucinations, partly inspired by his youthful experimentation with LSD. He wrote a book and conducted lectures on the subject. In an interview with Terry Gross, host of \u003ca href=\"http://www.npr.org/2013/06/21/193925787/oliver-sacks-exploring-how-hallucinations-happen\" target=\"_blank\" rel=\"noopener\">NPR’s Fresh Air\u003c/a>, in 2012, Sacks said:\u003c/p>\n\u003cp>“I was fascinated that one could have such perceptual changes, and also that they went with a certain feeling of significance, an almost numinous feeling. I’m strongly atheist by disposition, but nonetheless when this happened, I couldn’t help thinking, ‘That must be what the hand of God is like.’ ”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed-ssl.ted.com/talks/oliver_sacks_what_hallucination_reveals_about_our_minds.html\" width=\"560\" height=\"315\" frameborder=\"0\" scrolling=\"no\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Sacks did a TED Talk on the subject in 2009:\u003c/p>\n\u003cp>In an Op-Ed that appeared in the \u003cem>Times\u003c/em> in February, Sacks announced that what had started out as a melanoma in his eye had spread to his liver and that he didn’t have long to live.\u003c/p>\n\u003cp>“It is up to me now to choose how to live out the months that remain to me. I have to live in the richest, deepest, most productive way I can,” he wrote.\u003c/p>\n\u003cp>“I have been lucky enough to live past 80, and the 15 years allotted to me beyond Hume’s three score and five have been equally rich in work and love,” Sacks wrote. “In that time, I have published five books and completed an autobiography (rather longer than Hume’s few pages) to be published this spring; I have several other books nearly finished.”\u003c/p>\n\u003cp>And, in an opinion piece published in the \u003ca href=\"http://www.nytimes.com/2015/08/16/opinion/sunday/oliver-sacks-sabbath.html?smid=tw-nytimes\" target=\"_blank\" rel=\"noopener\">Times\u003c/a> earlier this month, Sacks wrote:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[N]ow, weak, short of breath, my once-firm muscles melted away by cancer, I find my thoughts, increasingly, not on the supernatural or spiritual, but on what is meant by living a good and worthwhile life — achieving a sense of peace within oneself. I find my thoughts drifting to the Sabbath, the day of rest, the seventh day of the week, and perhaps the seventh day of one’s life as well, when one can feel that one’s work is done, and one may, in good conscience, rest.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oliver+Sacks%2C+Renowned+Neurologist+And+Author%2C+Dies+At+82&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From 1940 to 1944, 8 million women entered the work force. Their mission: to produce the munitions, ships, planes and other support required to defeat the Japanese and Germans in WWII. Their emblem was a determined-looking lady in blue overalls flexing her right bicep. She wore red knee socks, work boots and a red bandana with white polka dots. They called her Rosie the Riveter, and she helped change the world.\u003c/p>\n\u003cp>[contextly_auto_sidebar id=”FeyQJtXfNpaqIYNuZQrAThVb3PN7a3wH”]\u003c/p>\n\u003cp>On August 15, 2015 in Richmond, CA, more than a thousand women of all ages gathered to celebrate Rosie’s legacy of can-do feminism. The gathering set a new world record for “The Largest Gathering of People Dressed as a Rosie the Riveter” (to be officially confirmed by Guinness World Records next month). Event organizer Sue Fritzke spoke for the original Rosies when she said, “We want the young women attending today to know that they can do anything they set their minds to.”\u003c/p>\n\u003cp>The event also commemorated the 70\u003csup>th\u003c/sup> anniversary of the end of World War II. The Richmond shipyards spearheaded the effort to turn the tide of the war. They built as many as three ships a day — more than any other West Coast shipyard. Today, the locations are part of the \u003ca href=\"https://en.wikipedia.org/wiki/Rosie_the_Riveter/World_War_II_Home_Front_National_Historical_Park\">Rosie the Riveter/World War II Home Front National Historical Park\u003c/a>. The park includes a Rosie memorial that sits on the former grounds of Shipyard #2.\u003c/p>\n\u003cp>Among the people attending the rally was Kay Morrison, 92, who served as a journeymen welder in the Richmond yards. When Morrison addressed the crowd at the event, she sought to connect the opportunity she was given during the war with the ongoing struggle for equal rights. “Equal pay for equal work should be for everyone,” Morrison said. “It’s very important for young women to know that if they work hard, they can do anything that they want to.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The sculpture that was unveiled at the event and presented in the video is “Can Do!” by sculptor Seward Johnson. \u003c/em>\u003cem>@2015 The Seward Johnson Atelier, Inc.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From 1940 to 1944, 8 million women entered the work force. Their mission: to produce the munitions, ships, planes and other support required to defeat the Japanese and Germans in WWII. Their emblem was a determined-looking lady in blue overalls flexing her right bicep. She wore red knee socks, work boots and a red bandana with white polka dots. They called her Rosie the Riveter, and she helped change the world.\u003c/p>\n\u003cp>[contextly_auto_sidebar id=”FeyQJtXfNpaqIYNuZQrAThVb3PN7a3wH”]\u003c/p>\n\u003cp>On August 15, 2015 in Richmond, CA, more than a thousand women of all ages gathered to celebrate Rosie’s legacy of can-do feminism. The gathering set a new world record for “The Largest Gathering of People Dressed as a Rosie the Riveter” (to be officially confirmed by Guinness World Records next month). Event organizer Sue Fritzke spoke for the original Rosies when she said, “We want the young women attending today to know that they can do anything they set their minds to.”\u003c/p>\n\u003cp>The event also commemorated the 70\u003csup>th\u003c/sup> anniversary of the end of World War II. The Richmond shipyards spearheaded the effort to turn the tide of the war. They built as many as three ships a day — more than any other West Coast shipyard. Today, the locations are part of the \u003ca href=\"https://en.wikipedia.org/wiki/Rosie_the_Riveter/World_War_II_Home_Front_National_Historical_Park\">Rosie the Riveter/World War II Home Front National Historical Park\u003c/a>. The park includes a Rosie memorial that sits on the former grounds of Shipyard #2.\u003c/p>\n\u003cp>Among the people attending the rally was Kay Morrison, 92, who served as a journeymen welder in the Richmond yards. When Morrison addressed the crowd at the event, she sought to connect the opportunity she was given during the war with the ongoing struggle for equal rights. “Equal pay for equal work should be for everyone,” Morrison said. “It’s very important for young women to know that if they work hard, they can do anything that they want to.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Mark Rucker, one of the Bay Area’s leading theater directors, has died. Rucker, 56 years old, was the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">associate artistic director at San Francisco’s American Conservatory Theater (ACT)\u003c/a> for five years.\u003c/p>\n\u003cp>He was found dead in his apartment Tuesday.\u003c/p>\n\u003cp>Rucker worked closely with ACT’s Artistic Director Carey Perloff, who called him an incredible artist, and “such a beloved colleague.”\u003c/p>\n\u003cp>Rucker directed many shows at ACT, including one of the company’s most widely praised recent productions, \u003ca href=\"http://ww2.kqed.org/arts/2015/02/27/in-post-apocalyptic-mr-burns-the-simpsons-are-literally-legendary/\" target=\"_blank\" rel=\"noopener\">\u003cem>Mr. Burns, a Post-Electric Play\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>In an interview Wednesday morning, Perloff said Rucker will be especially missed by students in the theater’s Master of Fine Arts program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He gave the students a great feeling of self-worth, and a great feeling of optimism about this profession of ours which can be very challenging, and very hard. And they really did their best work for him.”\u003c/p>\n\u003cp>“He did a \u003cem>Cherry Orchard\u003c/em> last fall that was so exquisite,” Perloff said, “it was the best Chekhov I’ve ever seen. Really.”\u003c/p>\n\u003cp>Rucker worked as a freelance theater director for 20 years, doing plays with nearly every major Bay Area theater company.\u003c/p>\n\u003cfigure id=\"attachment_10918961\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-426x600.jpg\" alt=\"Director Mark Rucker attends the premiere of "Die Mommy Die!" at the Loew's 34th Street October 27, 2003 in New York City.\" width=\"426\" height=\"600\" class=\"size-medium wp-image-10918961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-426x600.jpg 426w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-400x563.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP.jpg 600w\" sizes=\"(max-width: 426px) 100vw, 426px\">\u003cfigcaption class=\"wp-caption-text\">Director Mark Rucker attends the premiere of “Die Mommy Die!” at the Loew’s 34th Street October 27, 2003 in New York City. \u003ccite>(Photo: Matthew Peyton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also directed the 2003 classic camp film “\u003ca href=\"http://history.sundance.org/films/2776/die_mommie_die\" target=\"_blank\" rel=\"noopener\">Die Mommie Die\u003c/a>,” a vehicle for the playwright and actor Charles Busch. The film won the special jury prize for outstanding performance that year at the Sundance Film Festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cause of Rucker’s death has not been released as of the time of this story’s publication.\u003c/p>\n\n",
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"title": "Prominent Theater Director Mark Rucker Dies at 56 | KQED",
"description": "The ACT's associate artistic director was found dead in his apartment Tuesday. "He was an incredible artist, and such a beloved colleague."",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mark Rucker, one of the Bay Area’s leading theater directors, has died. Rucker, 56 years old, was the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">associate artistic director at San Francisco’s American Conservatory Theater (ACT)\u003c/a> for five years.\u003c/p>\n\u003cp>He was found dead in his apartment Tuesday.\u003c/p>\n\u003cp>Rucker worked closely with ACT’s Artistic Director Carey Perloff, who called him an incredible artist, and “such a beloved colleague.”\u003c/p>\n\u003cp>Rucker directed many shows at ACT, including one of the company’s most widely praised recent productions, \u003ca href=\"http://ww2.kqed.org/arts/2015/02/27/in-post-apocalyptic-mr-burns-the-simpsons-are-literally-legendary/\" target=\"_blank\" rel=\"noopener\">\u003cem>Mr. Burns, a Post-Electric Play\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>In an interview Wednesday morning, Perloff said Rucker will be especially missed by students in the theater’s Master of Fine Arts program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He gave the students a great feeling of self-worth, and a great feeling of optimism about this profession of ours which can be very challenging, and very hard. And they really did their best work for him.”\u003c/p>\n\u003cp>“He did a \u003cem>Cherry Orchard\u003c/em> last fall that was so exquisite,” Perloff said, “it was the best Chekhov I’ve ever seen. Really.”\u003c/p>\n\u003cp>Rucker worked as a freelance theater director for 20 years, doing plays with nearly every major Bay Area theater company.\u003c/p>\n\u003cfigure id=\"attachment_10918961\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-426x600.jpg\" alt=\"Director Mark Rucker attends the premiere of "Die Mommy Die!" at the Loew's 34th Street October 27, 2003 in New York City.\" width=\"426\" height=\"600\" class=\"size-medium wp-image-10918961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-426x600.jpg 426w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP-400x563.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Mark-Rucker-GettyCROP.jpg 600w\" sizes=\"(max-width: 426px) 100vw, 426px\">\u003cfigcaption class=\"wp-caption-text\">Director Mark Rucker attends the premiere of “Die Mommy Die!” at the Loew’s 34th Street October 27, 2003 in New York City. \u003ccite>(Photo: Matthew Peyton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also directed the 2003 classic camp film “\u003ca href=\"http://history.sundance.org/films/2776/die_mommie_die\" target=\"_blank\" rel=\"noopener\">Die Mommie Die\u003c/a>,” a vehicle for the playwright and actor Charles Busch. The film won the special jury prize for outstanding performance that year at the Sundance Film Festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cause of Rucker’s death has not been released as of the time of this story’s publication.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "veteran-club-promoter-running-new-venue-in-kink-coms-armory",
"title": "Veteran Club Promoter Running New Venue in Kink.com's Armory",
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"content": "\u003cp>The San Francisco-based fetish pornography company Kink.com \u003ca href=\"http://www.sfgate.com/bayarea/article/Fetish-porn-palace-the-Armory-to-reopen-as-music-6458128.php\" target=\"_blank\" rel=\"noopener\">announced last week\u003c/a> that it is opening a new event venue within its offices inside The Armory, the former National Guard facility at Mission and 14th streets. \u003c/p>\n\u003cp>The venue, which is also known as Drill Court and has a capacity of 4,000 people, has hosted several events over the years, such as Pride parties and books fairs. But its potential as a music venue was put to the test in back in July when the British electronic duo The Chemical Brothers played there as the headliners of the Hard SF Festival. The show went off without a hitch so plans went forward to turn it into a full-time venue.\u003c/p>\n\u003cfigure id=\"attachment_10917328\" class=\"wp-caption alignright\" style=\"max-width: 350px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FolsomSt.jpg\" alt=\"Graphic of Audrey Joseph at Folsom Street Fair\" width=\"350\" height=\"349\" class=\"size-full wp-image-10917328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt.jpg 350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-75x75.jpg 75w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003cfigcaption class=\"wp-caption-text\">Graphic of Audrey Joseph at Folsom Street Fair \u003ccite>(Courtesy: Audreyjoseph.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the hall undergoes renovations such as soundproofing and having bathrooms installed, the owners hope to turn it into a music venue that rivals Bill Graham Auditorium or the Masonic by this fall. To lead the charge, the building’s owners have hired Audrey Joseph, vice chair on the San Francisco Entertainment Commission and a veteran club promoter responsible for running legendary dance clubs such as Club Townsend and the Mezzanine.\u003c/p>\n\u003cp>I recently spoke with Joseph about her plans for the new venue, her history and the state of San Francisco Night life today, and as you’ll see, she had a lot to say on those matters.\u003c/p>\n\u003cp>\u003cb>How did you get involved with Drill Court?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I saw the place before Kink.com owner Peter Acworth put a nickel into it and I thought it was pretty amazing. As Peter was fixing it up, I kept telling him, “I wanna do a gig here. I wanna do a gig here.” And finally he relented and he let me do one during the Pride before last. I did “Pride at the Armory: Prisoner of Love,” which was controversial because it had “prisoner” in the name. But it was an amazing event; I did it as a Club Universe reunion and we packed the house — there were 3,800 people there. Peter was amazed by the event as well and soon afterward I became a consultant for him on developing the space. But around then I got really sick — I got cancer — and I just dropped out of everything and went through 18 weeks of chemo. During this, Peter comes to me and says “We really need you to come in and talk to us.” I was still on chemo and I went in to talk to them, and they asked me to come work for them. I was going to sell my business anyway and I was in love with the space; it could be my girlfriend. So then I just started spending Peter’s money like crazy developing the space, adding a coat check, bathrooms, production office, service kitchen… I just went to town.\u003c/p>\n\u003cp>\u003cb>What are your plans for this new venue?\u003c/b>\u003c/p>\n\u003cp>It’s an event space and it’s probably the only event space of its type in the city; the closest to it might be Fort Mason. It’s a 40,000-square-foot space with an 80-foot dome, and we expect to do a lot of fabulous events there: concerts, dances, corporate parties, whatever. It’s one of those blank palettes that event planners can just get creative with.\u003c/p>\n\u003cfigure id=\"attachment_10917675\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/drillcourt_e-800x533.jpg\" alt=\"Another view of Drill Court\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10917675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another view of Drill Court \u003ccite>(Courtesy: Armorystudios.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What kind of events do you have in the works?\u003c/b>\u003c/p>\n\u003cp>This is off the top of my head, but we have a booked a lot of corporate Christmas parties and a beer festival in November. We are also going to set up a haunted house that will be running for half of October, Oct. 14 through Halloween, and we are going to have two Halloween parties. And we are also in talks with Goldenvoice and Live Nation about doing some gigs. \u003c/p>\n\u003cp>\u003cb>You’re a veteran with decades of experience in promoting clubs. How do you feel about booking a venue this large?\u003c/b>\u003c/p>\n\u003cp>I owned Club Townsend, a 20,000-square-foot venue on Townsend Street, for a decade. It was the Studio 54 of the west coast and we used to bring 3,000 people through the door on any given night. I also produced main stage at San Francisco Pride and the dance stage for Folsom Street Fair for a long time. I helped build the Mezzanine, which is still in existence today. Let’s put it this way: cocktail parties for ten people I’m not so good at. Give me 100,000 people and I’m great. I’m a size queen; I can do big much better than I can do little.\u003c/p>\n\u003cp>\u003cb>You used to work with \u003ca href=\"https://en.wikipedia.org/wiki/Sylvester_(singer)\" target=\"_blank\" rel=\"noopener\">Sylvester\u003c/a>, AKA The Queen of Disco. How did you come into that job?\u003c/b>\u003c/p>\n\u003cp>He’s the reason I’m here. I lived in New York and I was in a bad fire; I almost died. So I took a year off work and began traveling all over the country to see all of my friends. When I got here [to San Francisco], Patrick Cowley, Sylvester’s songwriter and producer, had passed away three days after I arrived; he was an early AIDS victim. After we buried him, I said, “Okay, I’m leaving!” And Sylvester said, “Where do you think you’re going? You’re not going anywhere; we have to put out Patrick’s music.” So I stayed for one song, “Do Ya Wanna Funk,” but then we went on to put out records like “Don’t Stop” and “All I Need.” Two years later I was like, “I guess I should find a place to live and find a bed.” It’s hard not to fall in love with this city, that’s for sure.\u003c/p>\n\u003cfigure id=\"attachment_10917676\" class=\"wp-caption alignright\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg\" alt=\"Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015\" width=\"698\" height=\"400\" class=\"size-full wp-image-10917676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph-400x229.jpg 400w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015 \u003ccite>(Courtesy: Audrey Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Being on the SF Entertainment Commission, how do you see the local club scene?\u003c/b>\u003c/p>\n\u003cp>I think the city has come a long way. A dozen years ago, police and city officials would call entertainment an attractive nuisance and they would blame it for anything that went wrong. Today, we did an economic impact study that showed that $4.2 billion is brought into the city between the hours of 9pm and 5am — the other 9 to 5. It also showed that there were 48,000 jobs in the entertainment industry and it paid about $55 million in payroll taxes. Also, we recently did a study on daytime events and found they brought $1.5 billion to the city. So, entertainment is an economic driver in a city whose number 1 industry is tourism. \u003c/p>\n\u003cp>In addition, over the last few years, there’s been about 200 and change tech companies that have come into the city whose employees are the millennials. If you want to service your population, then you have to give them what they need, and I’m not necessarily talking about Whole Foods. You’ve got to give them entertainment because that’s what these young people do until they stopped being young. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I think the city recognized that entertainment is a thriving and important aspect of the general economy. Since that time, the city has instituted lots of policies that protect nightlife, such as legacy clubs. Also, Supervisor London Breed’s legislation passed that states that encroaching housing developments cannot negatively impact local entertainment. Entertainment in the city is valued and is even doing studies on nighttime public transportation to not only service those going out, but the people who work in these venues. The city is now in real support of entertainment. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco-based fetish pornography company Kink.com \u003ca href=\"http://www.sfgate.com/bayarea/article/Fetish-porn-palace-the-Armory-to-reopen-as-music-6458128.php\" target=\"_blank\" rel=\"noopener\">announced last week\u003c/a> that it is opening a new event venue within its offices inside The Armory, the former National Guard facility at Mission and 14th streets. \u003c/p>\n\u003cp>The venue, which is also known as Drill Court and has a capacity of 4,000 people, has hosted several events over the years, such as Pride parties and books fairs. But its potential as a music venue was put to the test in back in July when the British electronic duo The Chemical Brothers played there as the headliners of the Hard SF Festival. The show went off without a hitch so plans went forward to turn it into a full-time venue.\u003c/p>\n\u003cfigure id=\"attachment_10917328\" class=\"wp-caption alignright\" style=\"max-width: 350px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/FolsomSt.jpg\" alt=\"Graphic of Audrey Joseph at Folsom Street Fair\" width=\"350\" height=\"349\" class=\"size-full wp-image-10917328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt.jpg 350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/FolsomSt-75x75.jpg 75w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003cfigcaption class=\"wp-caption-text\">Graphic of Audrey Joseph at Folsom Street Fair \u003ccite>(Courtesy: Audreyjoseph.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the hall undergoes renovations such as soundproofing and having bathrooms installed, the owners hope to turn it into a music venue that rivals Bill Graham Auditorium or the Masonic by this fall. To lead the charge, the building’s owners have hired Audrey Joseph, vice chair on the San Francisco Entertainment Commission and a veteran club promoter responsible for running legendary dance clubs such as Club Townsend and the Mezzanine.\u003c/p>\n\u003cp>I recently spoke with Joseph about her plans for the new venue, her history and the state of San Francisco Night life today, and as you’ll see, she had a lot to say on those matters.\u003c/p>\n\u003cp>\u003cb>How did you get involved with Drill Court?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I saw the place before Kink.com owner Peter Acworth put a nickel into it and I thought it was pretty amazing. As Peter was fixing it up, I kept telling him, “I wanna do a gig here. I wanna do a gig here.” And finally he relented and he let me do one during the Pride before last. I did “Pride at the Armory: Prisoner of Love,” which was controversial because it had “prisoner” in the name. But it was an amazing event; I did it as a Club Universe reunion and we packed the house — there were 3,800 people there. Peter was amazed by the event as well and soon afterward I became a consultant for him on developing the space. But around then I got really sick — I got cancer — and I just dropped out of everything and went through 18 weeks of chemo. During this, Peter comes to me and says “We really need you to come in and talk to us.” I was still on chemo and I went in to talk to them, and they asked me to come work for them. I was going to sell my business anyway and I was in love with the space; it could be my girlfriend. So then I just started spending Peter’s money like crazy developing the space, adding a coat check, bathrooms, production office, service kitchen… I just went to town.\u003c/p>\n\u003cp>\u003cb>What are your plans for this new venue?\u003c/b>\u003c/p>\n\u003cp>It’s an event space and it’s probably the only event space of its type in the city; the closest to it might be Fort Mason. It’s a 40,000-square-foot space with an 80-foot dome, and we expect to do a lot of fabulous events there: concerts, dances, corporate parties, whatever. It’s one of those blank palettes that event planners can just get creative with.\u003c/p>\n\u003cfigure id=\"attachment_10917675\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/drillcourt_e-800x533.jpg\" alt=\"Another view of Drill Court\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10917675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_e.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another view of Drill Court \u003ccite>(Courtesy: Armorystudios.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What kind of events do you have in the works?\u003c/b>\u003c/p>\n\u003cp>This is off the top of my head, but we have a booked a lot of corporate Christmas parties and a beer festival in November. We are also going to set up a haunted house that will be running for half of October, Oct. 14 through Halloween, and we are going to have two Halloween parties. And we are also in talks with Goldenvoice and Live Nation about doing some gigs. \u003c/p>\n\u003cp>\u003cb>You’re a veteran with decades of experience in promoting clubs. How do you feel about booking a venue this large?\u003c/b>\u003c/p>\n\u003cp>I owned Club Townsend, a 20,000-square-foot venue on Townsend Street, for a decade. It was the Studio 54 of the west coast and we used to bring 3,000 people through the door on any given night. I also produced main stage at San Francisco Pride and the dance stage for Folsom Street Fair for a long time. I helped build the Mezzanine, which is still in existence today. Let’s put it this way: cocktail parties for ten people I’m not so good at. Give me 100,000 people and I’m great. I’m a size queen; I can do big much better than I can do little.\u003c/p>\n\u003cp>\u003cb>You used to work with \u003ca href=\"https://en.wikipedia.org/wiki/Sylvester_(singer)\" target=\"_blank\" rel=\"noopener\">Sylvester\u003c/a>, AKA The Queen of Disco. How did you come into that job?\u003c/b>\u003c/p>\n\u003cp>He’s the reason I’m here. I lived in New York and I was in a bad fire; I almost died. So I took a year off work and began traveling all over the country to see all of my friends. When I got here [to San Francisco], Patrick Cowley, Sylvester’s songwriter and producer, had passed away three days after I arrived; he was an early AIDS victim. After we buried him, I said, “Okay, I’m leaving!” And Sylvester said, “Where do you think you’re going? You’re not going anywhere; we have to put out Patrick’s music.” So I stayed for one song, “Do Ya Wanna Funk,” but then we went on to put out records like “Don’t Stop” and “All I Need.” Two years later I was like, “I guess I should find a place to live and find a bed.” It’s hard not to fall in love with this city, that’s for sure.\u003c/p>\n\u003cfigure id=\"attachment_10917676\" class=\"wp-caption alignright\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg\" alt=\"Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015\" width=\"698\" height=\"400\" class=\"size-full wp-image-10917676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph-400x229.jpg 400w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015 \u003ccite>(Courtesy: Audrey Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Being on the SF Entertainment Commission, how do you see the local club scene?\u003c/b>\u003c/p>\n\u003cp>I think the city has come a long way. A dozen years ago, police and city officials would call entertainment an attractive nuisance and they would blame it for anything that went wrong. Today, we did an economic impact study that showed that $4.2 billion is brought into the city between the hours of 9pm and 5am — the other 9 to 5. It also showed that there were 48,000 jobs in the entertainment industry and it paid about $55 million in payroll taxes. Also, we recently did a study on daytime events and found they brought $1.5 billion to the city. So, entertainment is an economic driver in a city whose number 1 industry is tourism. \u003c/p>\n\u003cp>In addition, over the last few years, there’s been about 200 and change tech companies that have come into the city whose employees are the millennials. If you want to service your population, then you have to give them what they need, and I’m not necessarily talking about Whole Foods. You’ve got to give them entertainment because that’s what these young people do until they stopped being young. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think the city recognized that entertainment is a thriving and important aspect of the general economy. Since that time, the city has instituted lots of policies that protect nightlife, such as legacy clubs. Also, Supervisor London Breed’s legislation passed that states that encroaching housing developments cannot negatively impact local entertainment. Entertainment in the city is valued and is even doing studies on nighttime public transportation to not only service those going out, but the people who work in these venues. The city is now in real support of entertainment. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.precitaeyes.org/index.html\" target=\"_blank\" rel=\"noopener\">Precita Eyes\u003c/a>, a 38-year-old mural arts nonprofit in San Francisco, hosted a combination free toddler art class and rally against the speculative real estate market Tuesday afternoon.\u003c/p>\n\u003cp>As toddlers covered in tempera paint plastered their hand prints all over sheets of paper, community members surrounded the building holding their own pieces of paper, printed with the message, “Please do not BUY this building!! This is a community space!”\u003c/p>\n\u003cfigure id=\"attachment_10917591\" class=\"wp-caption alignright\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917591\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEWindow.jpg\" alt=\"Sign in Precita Eyes' window at 348 Precita Ave. (Photo: Sarah Hotchkiss/KQED)\" width=\"478\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow-448x600.jpg 448w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">Sign in Precita Eyes’ window at 348 Precita Ave. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The organization staged the protest after landlords posted a brand-new “FOR SALE” sign on the studio center’s exterior the week before. Though Precita Eyes owns its arts and visitors center at 2981 24th St, they have rented the 348 Precita Ave space since 1977.\u003c/p>\n\u003cp>While impending doom lingers in the air, the building’s residents are not without hope. The \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a> (MEDA), with advice from the \u003ca href=\"http://www.sfclt.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Land Trust\u003c/a> (SFCLT), plans to make a bid on the property, which, if successful, will safeguard Precita Eyes and the residential tenants against eviction by forming a cooperative.\u003c/p>\n\u003cp>“MEDA is in touch with property owners and they’ve said verbally that they will consider our bid,” said Jean Yaste, an SFCLT board member present at Tuesday’s rally. The property, located at the corner of Precita and Treat Aves, is listed at $995,000 and comprises three residential units in addition to Precita Eyes’ storefront space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tuesday’s event was timed to coincide with real estate agent Chris Ferringo’s open house hours for interested bidders.\u003c/p>\n\u003cfigure id=\"attachment_10917593\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917593\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEKids.jpg\" alt=\"Neighborhood children at Tuesday's free arts class. (Photo: Sarah \" width=\"640\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEKids.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEKids-400x299.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Neighborhood children at Tuesday’s free arts class. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“We and the tenants upstairs have chosen to be present during the open house and do what we do,” said Precita Eyes volunteer Nancy Hernandez. “We teach kids how to paint, and so that’s what we’re doing.”\u003c/p>\n\u003cp>The property will sell — that’s undisputed — but Tuesday’s event was an attempt to impart upon potential bidders Precita Eyes’ significance in the community and the damage real estate speculation can have on longstanding arts organizations.\u003c/p>\n\u003cp>“People say that this is a class war, but I disagree with that. I think it’s a war about being classy. And it’s really not classy to use your economic privilege in a brutal means to enact a violent act on someone by taking away their home,” said Yaste.\u003c/p>\n\u003cfigure id=\"attachment_10917594\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917594\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEOpen.jpg\" alt='A Precita Eyes volunteer creates a sign reading, \"Keep our eyes open.\" (Photo: Sarah Hotchkiss/KQED)' width=\"640\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEOpen.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEOpen-400x299.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A Precita Eyes volunteer creates a sign reading, “Keep our eyes open.” (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Fran Taylor, a neighbor of 40 years, greeted prospective bidders at the building’s steps to tell them about Precita Eyes and the plan for MEDA’s bid.\u003c/p>\n\u003cp>“I just see the rapacious, vulture-like bidding on people’s homes as if it’s a widget and not where people live or where there’s a community space as destroying the community,” she said. “We’re discouraging the bidding wars that will put it out of [MEDA’s] reach by telling people that they’re not wanted as over bidders or speculators.”\u003c/p>\n\u003cp>Time will tell if this rally will have any effect; a steady stream of open house attendees climbed the stairs to the residential units in just the first hour of the open house. But many also stayed to chat with sign-holding protesters and reporters, talking over the particulars of what made this property attractive to them as an investment, sometimes telling their own stories of displacement.\u003c/p>\n\u003cp>“We’re doing whatever we can to get information out to folks, and especially the buyers, to make them aware of the space they’re looking to buy and how important that is to the community. At least we’re trying to create that dialogue,” said Eric Arguello of \u003ca href=\"http://calle24sf.org/en/\" target=\"_blank\" rel=\"noopener\">Calle 24\u003c/a>, the Mission’s Latino cultural district.\u003c/p>\n\u003cp>For Precita Eyes, dialogue is not enough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Although the real estate agents are saying that this space is available, the community is asserting that this space is not available for sale. This space has been used as a center to teach art to young people for over 30 years and we intend to stay here,” Hernandez said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.precitaeyes.org/index.html\" target=\"_blank\" rel=\"noopener\">Precita Eyes\u003c/a>, a 38-year-old mural arts nonprofit in San Francisco, hosted a combination free toddler art class and rally against the speculative real estate market Tuesday afternoon.\u003c/p>\n\u003cp>As toddlers covered in tempera paint plastered their hand prints all over sheets of paper, community members surrounded the building holding their own pieces of paper, printed with the message, “Please do not BUY this building!! This is a community space!”\u003c/p>\n\u003cfigure id=\"attachment_10917591\" class=\"wp-caption alignright\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917591\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEWindow.jpg\" alt=\"Sign in Precita Eyes' window at 348 Precita Ave. (Photo: Sarah Hotchkiss/KQED)\" width=\"478\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEWindow-448x600.jpg 448w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003cfigcaption class=\"wp-caption-text\">Sign in Precita Eyes’ window at 348 Precita Ave. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The organization staged the protest after landlords posted a brand-new “FOR SALE” sign on the studio center’s exterior the week before. Though Precita Eyes owns its arts and visitors center at 2981 24th St, they have rented the 348 Precita Ave space since 1977.\u003c/p>\n\u003cp>While impending doom lingers in the air, the building’s residents are not without hope. The \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a> (MEDA), with advice from the \u003ca href=\"http://www.sfclt.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Community Land Trust\u003c/a> (SFCLT), plans to make a bid on the property, which, if successful, will safeguard Precita Eyes and the residential tenants against eviction by forming a cooperative.\u003c/p>\n\u003cp>“MEDA is in touch with property owners and they’ve said verbally that they will consider our bid,” said Jean Yaste, an SFCLT board member present at Tuesday’s rally. The property, located at the corner of Precita and Treat Aves, is listed at $995,000 and comprises three residential units in addition to Precita Eyes’ storefront space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tuesday’s event was timed to coincide with real estate agent Chris Ferringo’s open house hours for interested bidders.\u003c/p>\n\u003cfigure id=\"attachment_10917593\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917593\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEKids.jpg\" alt=\"Neighborhood children at Tuesday's free arts class. (Photo: Sarah \" width=\"640\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEKids.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEKids-400x299.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Neighborhood children at Tuesday’s free arts class. (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“We and the tenants upstairs have chosen to be present during the open house and do what we do,” said Precita Eyes volunteer Nancy Hernandez. “We teach kids how to paint, and so that’s what we’re doing.”\u003c/p>\n\u003cp>The property will sell — that’s undisputed — but Tuesday’s event was an attempt to impart upon potential bidders Precita Eyes’ significance in the community and the damage real estate speculation can have on longstanding arts organizations.\u003c/p>\n\u003cp>“People say that this is a class war, but I disagree with that. I think it’s a war about being classy. And it’s really not classy to use your economic privilege in a brutal means to enact a violent act on someone by taking away their home,” said Yaste.\u003c/p>\n\u003cfigure id=\"attachment_10917594\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917594\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/PEOpen.jpg\" alt='A Precita Eyes volunteer creates a sign reading, \"Keep our eyes open.\" (Photo: Sarah Hotchkiss/KQED)' width=\"640\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEOpen.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/PEOpen-400x299.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A Precita Eyes volunteer creates a sign reading, “Keep our eyes open.” (Photo: Sarah Hotchkiss/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Fran Taylor, a neighbor of 40 years, greeted prospective bidders at the building’s steps to tell them about Precita Eyes and the plan for MEDA’s bid.\u003c/p>\n\u003cp>“I just see the rapacious, vulture-like bidding on people’s homes as if it’s a widget and not where people live or where there’s a community space as destroying the community,” she said. “We’re discouraging the bidding wars that will put it out of [MEDA’s] reach by telling people that they’re not wanted as over bidders or speculators.”\u003c/p>\n\u003cp>Time will tell if this rally will have any effect; a steady stream of open house attendees climbed the stairs to the residential units in just the first hour of the open house. But many also stayed to chat with sign-holding protesters and reporters, talking over the particulars of what made this property attractive to them as an investment, sometimes telling their own stories of displacement.\u003c/p>\n\u003cp>“We’re doing whatever we can to get information out to folks, and especially the buyers, to make them aware of the space they’re looking to buy and how important that is to the community. At least we’re trying to create that dialogue,” said Eric Arguello of \u003ca href=\"http://calle24sf.org/en/\" target=\"_blank\" rel=\"noopener\">Calle 24\u003c/a>, the Mission’s Latino cultural district.\u003c/p>\n\u003cp>For Precita Eyes, dialogue is not enough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Although the real estate agents are saying that this space is available, the community is asserting that this space is not available for sale. This space has been used as a center to teach art to young people for over 30 years and we intend to stay here,” Hernandez said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tony Gleaton: Photographing the African Story Across the Americas",
"headTitle": "Tony Gleaton: Photographing the African Story Across the Americas | KQED",
"content": "\u003cp>Photographer Tony Gleaton died last Friday at the age of 67 after struggling with a particularly aggressive cancer for 18 months. He was working, signing prints, talking to museums (several have his work in their collections, including the Brooklyn Museum, the Field Museum of Natural History in Chicago, Harvard’s Peabody Museum of Natural History, and the Schomburg Center for Research in Black Culture in Harlem) and checking in with his friends right up to the last day. I admired his work, but also treasured his friendship.\u003c/p>\n\u003cp>For many years, Tony often showed up on my Los Angeles doorstep with a huge sack of dirty laundry slung over his shoulder and a box of contact sheets under one arm.\u003c/p>\n\u003cp>“Here,” he’d say, placing the box in my hands, and walking through the door. “Look at these. I’m gonna do some laundry, okay?”\u003c/p>\n\u003cp>While the laundry — several loads of it — would go through its cycles, Tony would tell my husband and me about his latest travels. In the late ’80s and through the mid-’90s, he spent a lot of time deep in the Costa Chica, a remote part of Mexico that’s about a three-hour drive south of Acapulco on the Pacific coast. The Costa Chica is a string of villages populated by descendants of slaves brought here by the Spanish in the 1500s through the 1700s. Tony liked to say “it’s hard to find, hard to get to and hard to live in.”\u003c/p>\n\u003cp>While he was there, he often stayed with the village priest, and slept on the floor. Villagers would hear \u003cem>el gigante\u003c/em> was back — Tony was about 6 foot 4 inches tall and weighed well over 300 pounds — and would shyly come with greetings and provisions from their own scant stock. “You eat a lot of rice and beans down there, and you’re glad to have them,” he explained.\u003c/p>\n\u003cfigure id=\"attachment_10915127\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-450x600.jpg\" alt=\"Photographer Tony Gleaton.\" width=\"450\" height=\"600\" class=\"size-medium wp-image-10915127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce.jpg 480w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Tony Gleaton. \u003ccite>(Bruce Talamon/Courtesy of Lisa M. Gleaton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For several years he was a regular sight in the villages, amiably greeting residents with his fluent, American-inflected Spanish. They would pass him and smile as they watched their neighbors sit for portraits. A white-haired \u003cem>abuela\u003c/em> sits in a wooden chair in the doorway of her adobe, her arm protectively around one grandchild as another leans against her. A mahogany-skinned boy pauses spearfishing to be captured on film. A barber and his young client stare curiously into the camera. Three sisters bunch together on the steps, laughing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the poverty of Tony’s subjects, these are black and white photographs of tremendous grace and formality, much like court photographs of contemporary European royalty. And that is what Tony intended. His subjects tend to be people who are usually invisible to the rest of society, and who are outside of the mainstream aesthetic. He saw his work as a way to correct that marginalization, at least for a moment: beautiful portraits of beautiful people, taken with respect.\u003c/p>\n\u003cp>In the beginning, he got a lot of pushback. “\u003cem>Why\u003c/em> do you want to take our picture?” the villagers would ask, warily. “We have no money to pay you.”\u003c/p>\n\u003cp>When Tony would explain that he was documenting the African Diaspora around the world, and that they and he were both part of it, the conversation often became even harder.\u003c/p>\n\u003cp>“You want to take pictures of black people?” they’d ask.\u003c/p>\n\u003cp>“Yes, like you and me … ” he’d begin\u003c/p>\n\u003cp>“Well,” they’d respond, looking at his fair skin, light hair and blue-green eyes. “You’re not black. And we’re \u003cem>certainly\u003c/em> not black. So you need to do that somewhere else.”\u003c/p>\n\u003cp>Eventually he learned to refine his approach and tell the villagers he wanted people in the States to see how beautiful people in the villages were. “I just gave up on the black connection. It was important to me, but not to them. They see race differently than we do. And it’s only a social construct anyway.”\u003c/p>\n\u003cp>There is still stigma to acknowledging blackness in many parts of Mexico, and Tony’s work raised the profile of Latinos with what is sometimes called “the Third Root” — Spanish, Indian, African — in Latino culture. His work eventually expanded across the Americas to form an exhibit called \u003cem>Tengo Casi 500 Años (I Have Almost 500 Years) — Africa’s Legacy in Mexico\u003c/em> that explores the African presence in the Americas. He’s also chronicled black, Indian and Mexican cowboy culture, as well as life in American Samoa and the Mississippi Delta.\u003c/p>\n\u003cp>A native of Detroit, Tony moved with his policeman father and schoolteacher mother and his older brother to Los Angeles when he was 11 years old. After high school, he joined the Marines, and served as a field radio operator in Vietnam for three years. Vietnam is also where he first picked up a camera.\u003c/p>\n\u003cp>When Tony returned to Los Angeles, he enrolled at UCLA under the GI bill, but left soon after, determined to work as a fashion photographer. He lived a hand-to-mouth existence in New York as a photographer’s assistant, then as a photographer. But he eventually tired of that life and worked his way back across the country, in an oil field and on ranches, and at rodeos where the cowboys were black and Mexican and Native American. The Mexican cowboys told him about the hidden villages of the Costa Chica, and photographing the residents there became his best-known work.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nI just gave up on the black connection. It was important to me, but not to them. They see race differently than we do. And it’s only a social construct anyway.\u003cbr>\n\u003ccite>Photographer Tony Gleaton\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>But it was physically grueling and after about 15 years, Tony stopped. (“60 ain’t 35, kid.”) Instead, he began a series of landscapes. He took beautiful images of striking, isolated parts of the country that have historical significance to people of color in the U.S.: western trails that black pioneers had blazed, views of coasts first walked by native peoples, and wide-open fields that had once been settlements established by freed slaves.\u003c/p>\n\u003cp>They are luminous photographs with a haunting quality that keeps the viewer gazing at them much longer than they’d probably intended. Tony got those shots by sleeping in his car, sometimes parked by the side of the road, other times in the parking lot of a Wal-Mart or a cheap hotel. He traveled on a shoestring; money only mattered to him as fuel for his work. When his cameras weren’t on a trip, they were frequently in a trusted pawn shop, collateral for a loan—so he could fund his travels.\u003c/p>\n\u003cp>During his sojourns, the laundromat was not on the itinerary. Hence, his visits to out house soon after he finally arrived home. “Hey,” he’d say cheerfully, “I’m gonna smell a lot better when I leave here than I did when I came. By the way—do I have time to take a shower before dinner? And what are we having, anyway?”\u003c/p>\n\u003cp>It didn’t matter. It was always good to have him at the table, teasing and talking about the latest project. Dinner will be much quieter and less interesting from now on.\u003c/p>\n\u003cp>Tony’s wife Lisa was at his side when he died. In addition to Lisa, he’s survived by his stepson, Michael Jelinsky. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"10915125,10915124,10915123,10915120,10915121,10915122\"]\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tony+Gleaton%3A+Photographing+The+African+Story+Across+The+Americas&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photographer Tony Gleaton died last Friday at the age of 67 after struggling with a particularly aggressive cancer for 18 months. He was working, signing prints, talking to museums (several have his work in their collections, including the Brooklyn Museum, the Field Museum of Natural History in Chicago, Harvard’s Peabody Museum of Natural History, and the Schomburg Center for Research in Black Culture in Harlem) and checking in with his friends right up to the last day. I admired his work, but also treasured his friendship.\u003c/p>\n\u003cp>For many years, Tony often showed up on my Los Angeles doorstep with a huge sack of dirty laundry slung over his shoulder and a box of contact sheets under one arm.\u003c/p>\n\u003cp>“Here,” he’d say, placing the box in my hands, and walking through the door. “Look at these. I’m gonna do some laundry, okay?”\u003c/p>\n\u003cp>While the laundry — several loads of it — would go through its cycles, Tony would tell my husband and me about his latest travels. In the late ’80s and through the mid-’90s, he spent a lot of time deep in the Costa Chica, a remote part of Mexico that’s about a three-hour drive south of Acapulco on the Pacific coast. The Costa Chica is a string of villages populated by descendants of slaves brought here by the Spanish in the 1500s through the 1700s. Tony liked to say “it’s hard to find, hard to get to and hard to live in.”\u003c/p>\n\u003cp>While he was there, he often stayed with the village priest, and slept on the floor. Villagers would hear \u003cem>el gigante\u003c/em> was back — Tony was about 6 foot 4 inches tall and weighed well over 300 pounds — and would shyly come with greetings and provisions from their own scant stock. “You eat a lot of rice and beans down there, and you’re glad to have them,” he explained.\u003c/p>\n\u003cfigure id=\"attachment_10915127\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-450x600.jpg\" alt=\"Photographer Tony Gleaton.\" width=\"450\" height=\"600\" class=\"size-medium wp-image-10915127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/gleaton-img_0387_vert-2777f2acf3ca97e6bed86a36e003c36e095f20ce.jpg 480w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Tony Gleaton. \u003ccite>(Bruce Talamon/Courtesy of Lisa M. Gleaton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For several years he was a regular sight in the villages, amiably greeting residents with his fluent, American-inflected Spanish. They would pass him and smile as they watched their neighbors sit for portraits. A white-haired \u003cem>abuela\u003c/em> sits in a wooden chair in the doorway of her adobe, her arm protectively around one grandchild as another leans against her. A mahogany-skinned boy pauses spearfishing to be captured on film. A barber and his young client stare curiously into the camera. Three sisters bunch together on the steps, laughing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the poverty of Tony’s subjects, these are black and white photographs of tremendous grace and formality, much like court photographs of contemporary European royalty. And that is what Tony intended. His subjects tend to be people who are usually invisible to the rest of society, and who are outside of the mainstream aesthetic. He saw his work as a way to correct that marginalization, at least for a moment: beautiful portraits of beautiful people, taken with respect.\u003c/p>\n\u003cp>In the beginning, he got a lot of pushback. “\u003cem>Why\u003c/em> do you want to take our picture?” the villagers would ask, warily. “We have no money to pay you.”\u003c/p>\n\u003cp>When Tony would explain that he was documenting the African Diaspora around the world, and that they and he were both part of it, the conversation often became even harder.\u003c/p>\n\u003cp>“You want to take pictures of black people?” they’d ask.\u003c/p>\n\u003cp>“Yes, like you and me … ” he’d begin\u003c/p>\n\u003cp>“Well,” they’d respond, looking at his fair skin, light hair and blue-green eyes. “You’re not black. And we’re \u003cem>certainly\u003c/em> not black. So you need to do that somewhere else.”\u003c/p>\n\u003cp>Eventually he learned to refine his approach and tell the villagers he wanted people in the States to see how beautiful people in the villages were. “I just gave up on the black connection. It was important to me, but not to them. They see race differently than we do. And it’s only a social construct anyway.”\u003c/p>\n\u003cp>There is still stigma to acknowledging blackness in many parts of Mexico, and Tony’s work raised the profile of Latinos with what is sometimes called “the Third Root” — Spanish, Indian, African — in Latino culture. His work eventually expanded across the Americas to form an exhibit called \u003cem>Tengo Casi 500 Años (I Have Almost 500 Years) — Africa’s Legacy in Mexico\u003c/em> that explores the African presence in the Americas. He’s also chronicled black, Indian and Mexican cowboy culture, as well as life in American Samoa and the Mississippi Delta.\u003c/p>\n\u003cp>A native of Detroit, Tony moved with his policeman father and schoolteacher mother and his older brother to Los Angeles when he was 11 years old. After high school, he joined the Marines, and served as a field radio operator in Vietnam for three years. Vietnam is also where he first picked up a camera.\u003c/p>\n\u003cp>When Tony returned to Los Angeles, he enrolled at UCLA under the GI bill, but left soon after, determined to work as a fashion photographer. He lived a hand-to-mouth existence in New York as a photographer’s assistant, then as a photographer. But he eventually tired of that life and worked his way back across the country, in an oil field and on ranches, and at rodeos where the cowboys were black and Mexican and Native American. The Mexican cowboys told him about the hidden villages of the Costa Chica, and photographing the residents there became his best-known work.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nI just gave up on the black connection. It was important to me, but not to them. They see race differently than we do. And it’s only a social construct anyway.\u003cbr>\n\u003ccite>Photographer Tony Gleaton\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>But it was physically grueling and after about 15 years, Tony stopped. (“60 ain’t 35, kid.”) Instead, he began a series of landscapes. He took beautiful images of striking, isolated parts of the country that have historical significance to people of color in the U.S.: western trails that black pioneers had blazed, views of coasts first walked by native peoples, and wide-open fields that had once been settlements established by freed slaves.\u003c/p>\n\u003cp>They are luminous photographs with a haunting quality that keeps the viewer gazing at them much longer than they’d probably intended. Tony got those shots by sleeping in his car, sometimes parked by the side of the road, other times in the parking lot of a Wal-Mart or a cheap hotel. He traveled on a shoestring; money only mattered to him as fuel for his work. When his cameras weren’t on a trip, they were frequently in a trusted pawn shop, collateral for a loan—so he could fund his travels.\u003c/p>\n\u003cp>During his sojourns, the laundromat was not on the itinerary. Hence, his visits to out house soon after he finally arrived home. “Hey,” he’d say cheerfully, “I’m gonna smell a lot better when I leave here than I did when I came. By the way—do I have time to take a shower before dinner? And what are we having, anyway?”\u003c/p>\n\u003cp>It didn’t matter. It was always good to have him at the table, teasing and talking about the latest project. Dinner will be much quieter and less interesting from now on.\u003c/p>\n\u003cp>Tony’s wife Lisa was at his side when he died. In addition to Lisa, he’s survived by his stepson, Michael Jelinsky. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tony+Gleaton%3A+Photographing+The+African+Story+Across+The+Americas&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "after-displacement-redlick-artists-rally-against-changing-mission",
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"content": "\u003cp>Nearly every week we hear of another beloved Bay Area business closing, another cultural space threatened by rising rents and changing tastes. But what happens after an eviction notice, after a lease isn’t renewed, after displacement?\u003c/p>\n\u003cp>For the tenants of Studio 17, a 21,000 square foot studio space on the fourth floor of the historic Redlick Building in San Francisco, this question is answered. As detailed in \u003ca href=\"http://ww2.kqed.org/arts/2015/04/17/without-a-renewed-lease-studio-17-artists-face-unsure-future-in-redlick-building/\" target=\"_blank\" rel=\"noopener\">our April coverage\u003c/a>, approximately 70 artists who rented studios in the Redlick could not secure new leases within the building. At the end of June, the owners provided moving services for over a dozen artists who still remained, transporting their studio contents to new work spaces, storage facilities or, for many, their living rooms.\u003c/p>\n\u003cfigure id=\"attachment_10909408\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10909408 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AdamBarryHearing.jpg\" alt=\"In the foreground, former Studio 17 tenant Adam Barry at City Hall for the Aug. 6 Planning Commission hearing; In the background, the building owners and their supporters. (Photo: Dan Lichtenberg)\" width=\"640\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AdamBarryHearing.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AdamBarryHearing-400x268.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">In the foreground, former Studio 17 tenant Adam Barry at City Hall for the Aug. 6 Planning Commission hearing; in the background, the building owners and their supporters. (Photo: Dan Lichtenberg)\u003c/figcaption>\u003c/figure>\n\u003cp>Those studios, which occupied the top floor of the Mission district building (also home to the Thrift Town and Fabric Outlet stores), are now empty, awaiting a Sept. 3 decision from the San Francisco Planning Commission about zoning within the building.\u003c/p>\n\u003cp>The building owners, Rick Holman and Toby Levy, seek conditional use permits to legalize office space on the Redlick’s fourth and third floors, with approximately 16,000 square feet set aside on the third, second and ground floors for “trade shop” use — planning department-speak for artist studios and a storefront gallery.\u003c/p>\n\u003cp>After Studio 17’s lease expired on June 30, a handful of the displaced artists moved to the building’s second floor, where the building owners offered nine studios at a below-market rate of $2 a square foot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.katenicholsstudio.com/\" target=\"_blank\" rel=\"noopener\">Kate Nichols\u003c/a>, a former Studio 17 tenant, compares the second floor to \u003ca href=\"https://www.youtube.com/watch?v=T2Y7oo3iB40\" target=\"_blank\" rel=\"noopener\">\u003ci>Being John Malkovich\u003c/i>’s floor 7 ½\u003c/a>, where workers move through their office space hunched under absurdly low ceilings. In reality, the second floor maxes out at a more reasonable 7 feet, 6 inches — still a far cry from the fourth floor’s lofty ceilings and gigantic windows overlooking the Mission.\u003c/p>\n\u003cp>One of the transplanted second floor tenants, who prefers to remain anonymous to maintain her relationship with the building owners, says the space isn’t suitable for all practices, citing the low ceilings, limited natural light, no ventilation, walls that don’t fully block sound and no mess sink. But she is thankful to have a studio at all. “Space for artists is diminishing in the Mission, and quite honestly we couldn’t find any other space in our price range anywhere else,” she says.\u003c/p>\n\u003cp>Steven Vettel, lawyer for the building owners, spoke in favor of the proposed rezoning at the Aug. 6 planning hearing: “Those artist rent subsidies, the remaining 16,000 square feet of non-artist trade shop use, retention of Thrift Town and Fabric Outlet at affordable rents and the substantial cost to seismically upgrade the building only works if some of the building is legalized as office space.”\u003c/p>\n\u003cp>In other words, market-rate office space will subsidize below-market artist space. But the \u003ca href=\"http://www.culturalactionnetwork.org/\" target=\"_blank\" rel=\"noopener\">Cultural Action Network\u003c/a> (CAN), activists seeking to protect artists, cultural organizations and their spaces, have another proposal: reserve the low-ceilinged second floor for offices, give the more spacious third floor to artists and let the fourth floor be even more lucrative office space.\u003c/p>\n\u003cfigure id=\"attachment_10909406\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10909406\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Garrett.jpg\" alt=\"Mark Garrett, 'Overview,' 2015. (Photo: the artist)\" width=\"640\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Garrett.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Garrett-400x304.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mark Garrett, ‘Overview,’ 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>CAN’s \u003ca href=\"https://www.change.org/p/board-of-supervisors-sfgov-org-planning-rodneyfong-com-cwu-planning-gmail-com-wordweaver21-aol-com-richhillissf-yahoo-com-christine-d-johnson-sfgov-org-mooreurban-aol-com-dennis-richards-sfg-support-the-alternative-proposal-for-mission-s-redlick-buil\" target=\"_blank\" rel=\"noopener\">alternative proposal\u003c/a> is supported by nearly 3,000 online signatures. At the Aug. 6 hearing, Gabriel Medina, policy manager at the \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a> and Erick Arguello, member of \u003ca href=\"http://calle24sf.org/en/\" target=\"_blank\" rel=\"noopener\">Calle 24\u003c/a>, the 24th Street cultural heritage and merchant’s association, spoke in support of CAN’s proposal, along with a group of displaced Studio 17 artists wearing shirts printed with the message: “Artists stand with the Mission community.”\u003c/p>\n\u003cp>While current tenants and owners await the Planning Commission’s next hearing, former Studio 17 members adapt to their new surroundings. After five years in the Redlick building, artist \u003ca href=\"http://markmgarrett.com/\" target=\"_blank\" rel=\"noopener\">Mark Garrett\u003c/a> managed to find a smaller space in San Francisco’s Dogpatch neighborhood. “The effect has been profound,” Garrett says of the move. “This has been so disruptive to my work and my concentration.” Garrett’s studio practice is his livelihood, and Garrett’s work space is integral to his productivity. Unhappy with his new space, but unsure as to whether he’ll be able to find something more suitable, the artist is reluctant to unpack, settle in or start working on anything substantial.\u003c/p>\n\u003cfigure id=\"attachment_10909407\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10909407\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/BandR.jpg\" alt=\"Installation view of Stephanie Rohlfs' work in 'Powers of Ten' at Bass & Reiner, Feb. 2015. (Photo: Bass & Reiner)\" width=\"640\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BandR.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BandR-400x304.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Stephanie Rohlfs’ work in ‘Powers of Ten’ at Bass & Reiner, Feb. 2015. (Photo: Bass & Reiner)\u003c/figcaption>\u003c/figure>\n\u003cp>But not all of the ex-Studio 17 tenants are feeling as pessimistic about the future. \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner\u003c/a>, a gallery that operated within Studio 17 for eight months, will join the \u003ca href=\"http://www.minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a>, a 35,000 square foot arts facility in the Dogpatch. “Minnesota Street feels like it will be a place to nurture and grow a gallery like ours, which is still really in its infancy,” says Bass & Reiner co-director Chris Grunder. The gallery’s new space will be smaller, but possibly more sustainable. “Less space seems like a negative at first,” Grunder says. “But for us, less rent and less shipping costs to fill the space are going to give us a chance to really establish a sound business model.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For many of the displaced artists, the loss of their work space was a call to action. \u003ca href=\"http://gnourtnart.com/home.html\" target=\"_blank\" rel=\"noopener\">Truong Tran\u003c/a>, a mixed media artist who worked in Studio 17 for four years, wants to make sure other considerations aren’t forgotten in the arguments about square footage, ceiling height and tech versus art. “In this particular case, the developer has a platform to say look at what I’m doing for the good of the arts community,” Tran said at the Aug. 6 Planning Commission hearing. “What is not being addressed is the displacement of the working class and people of color. This is erasure of culture and communities. This is gentrification.”\u003c/p>\n\n",
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"excerpt": "Months after losing their lease, the Studio 17 artists organize against proposed zoning changes.",
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"title": "After Displacement, Redlick Artists Rally Against Changing Mission | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly every week we hear of another beloved Bay Area business closing, another cultural space threatened by rising rents and changing tastes. But what happens after an eviction notice, after a lease isn’t renewed, after displacement?\u003c/p>\n\u003cp>For the tenants of Studio 17, a 21,000 square foot studio space on the fourth floor of the historic Redlick Building in San Francisco, this question is answered. As detailed in \u003ca href=\"http://ww2.kqed.org/arts/2015/04/17/without-a-renewed-lease-studio-17-artists-face-unsure-future-in-redlick-building/\" target=\"_blank\" rel=\"noopener\">our April coverage\u003c/a>, approximately 70 artists who rented studios in the Redlick could not secure new leases within the building. At the end of June, the owners provided moving services for over a dozen artists who still remained, transporting their studio contents to new work spaces, storage facilities or, for many, their living rooms.\u003c/p>\n\u003cfigure id=\"attachment_10909408\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10909408 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/AdamBarryHearing.jpg\" alt=\"In the foreground, former Studio 17 tenant Adam Barry at City Hall for the Aug. 6 Planning Commission hearing; In the background, the building owners and their supporters. (Photo: Dan Lichtenberg)\" width=\"640\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AdamBarryHearing.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/AdamBarryHearing-400x268.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">In the foreground, former Studio 17 tenant Adam Barry at City Hall for the Aug. 6 Planning Commission hearing; in the background, the building owners and their supporters. (Photo: Dan Lichtenberg)\u003c/figcaption>\u003c/figure>\n\u003cp>Those studios, which occupied the top floor of the Mission district building (also home to the Thrift Town and Fabric Outlet stores), are now empty, awaiting a Sept. 3 decision from the San Francisco Planning Commission about zoning within the building.\u003c/p>\n\u003cp>The building owners, Rick Holman and Toby Levy, seek conditional use permits to legalize office space on the Redlick’s fourth and third floors, with approximately 16,000 square feet set aside on the third, second and ground floors for “trade shop” use — planning department-speak for artist studios and a storefront gallery.\u003c/p>\n\u003cp>After Studio 17’s lease expired on June 30, a handful of the displaced artists moved to the building’s second floor, where the building owners offered nine studios at a below-market rate of $2 a square foot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.katenicholsstudio.com/\" target=\"_blank\" rel=\"noopener\">Kate Nichols\u003c/a>, a former Studio 17 tenant, compares the second floor to \u003ca href=\"https://www.youtube.com/watch?v=T2Y7oo3iB40\" target=\"_blank\" rel=\"noopener\">\u003ci>Being John Malkovich\u003c/i>’s floor 7 ½\u003c/a>, where workers move through their office space hunched under absurdly low ceilings. In reality, the second floor maxes out at a more reasonable 7 feet, 6 inches — still a far cry from the fourth floor’s lofty ceilings and gigantic windows overlooking the Mission.\u003c/p>\n\u003cp>One of the transplanted second floor tenants, who prefers to remain anonymous to maintain her relationship with the building owners, says the space isn’t suitable for all practices, citing the low ceilings, limited natural light, no ventilation, walls that don’t fully block sound and no mess sink. But she is thankful to have a studio at all. “Space for artists is diminishing in the Mission, and quite honestly we couldn’t find any other space in our price range anywhere else,” she says.\u003c/p>\n\u003cp>Steven Vettel, lawyer for the building owners, spoke in favor of the proposed rezoning at the Aug. 6 planning hearing: “Those artist rent subsidies, the remaining 16,000 square feet of non-artist trade shop use, retention of Thrift Town and Fabric Outlet at affordable rents and the substantial cost to seismically upgrade the building only works if some of the building is legalized as office space.”\u003c/p>\n\u003cp>In other words, market-rate office space will subsidize below-market artist space. But the \u003ca href=\"http://www.culturalactionnetwork.org/\" target=\"_blank\" rel=\"noopener\">Cultural Action Network\u003c/a> (CAN), activists seeking to protect artists, cultural organizations and their spaces, have another proposal: reserve the low-ceilinged second floor for offices, give the more spacious third floor to artists and let the fourth floor be even more lucrative office space.\u003c/p>\n\u003cfigure id=\"attachment_10909406\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10909406\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Garrett.jpg\" alt=\"Mark Garrett, 'Overview,' 2015. (Photo: the artist)\" width=\"640\" height=\"486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Garrett.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Garrett-400x304.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mark Garrett, ‘Overview,’ 2015. (Photo: the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>CAN’s \u003ca href=\"https://www.change.org/p/board-of-supervisors-sfgov-org-planning-rodneyfong-com-cwu-planning-gmail-com-wordweaver21-aol-com-richhillissf-yahoo-com-christine-d-johnson-sfgov-org-mooreurban-aol-com-dennis-richards-sfg-support-the-alternative-proposal-for-mission-s-redlick-buil\" target=\"_blank\" rel=\"noopener\">alternative proposal\u003c/a> is supported by nearly 3,000 online signatures. At the Aug. 6 hearing, Gabriel Medina, policy manager at the \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a> and Erick Arguello, member of \u003ca href=\"http://calle24sf.org/en/\" target=\"_blank\" rel=\"noopener\">Calle 24\u003c/a>, the 24th Street cultural heritage and merchant’s association, spoke in support of CAN’s proposal, along with a group of displaced Studio 17 artists wearing shirts printed with the message: “Artists stand with the Mission community.”\u003c/p>\n\u003cp>While current tenants and owners await the Planning Commission’s next hearing, former Studio 17 members adapt to their new surroundings. After five years in the Redlick building, artist \u003ca href=\"http://markmgarrett.com/\" target=\"_blank\" rel=\"noopener\">Mark Garrett\u003c/a> managed to find a smaller space in San Francisco’s Dogpatch neighborhood. “The effect has been profound,” Garrett says of the move. “This has been so disruptive to my work and my concentration.” Garrett’s studio practice is his livelihood, and Garrett’s work space is integral to his productivity. Unhappy with his new space, but unsure as to whether he’ll be able to find something more suitable, the artist is reluctant to unpack, settle in or start working on anything substantial.\u003c/p>\n\u003cfigure id=\"attachment_10909407\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10909407\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/BandR.jpg\" alt=\"Installation view of Stephanie Rohlfs' work in 'Powers of Ten' at Bass & Reiner, Feb. 2015. (Photo: Bass & Reiner)\" width=\"640\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BandR.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/BandR-400x304.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Stephanie Rohlfs’ work in ‘Powers of Ten’ at Bass & Reiner, Feb. 2015. (Photo: Bass & Reiner)\u003c/figcaption>\u003c/figure>\n\u003cp>But not all of the ex-Studio 17 tenants are feeling as pessimistic about the future. \u003ca href=\"http://www.bassandreiner.com/\" target=\"_blank\" rel=\"noopener\">Bass & Reiner\u003c/a>, a gallery that operated within Studio 17 for eight months, will join the \u003ca href=\"http://www.minnesotastreetproject.com/\" target=\"_blank\" rel=\"noopener\">Minnesota Street Project\u003c/a>, a 35,000 square foot arts facility in the Dogpatch. “Minnesota Street feels like it will be a place to nurture and grow a gallery like ours, which is still really in its infancy,” says Bass & Reiner co-director Chris Grunder. The gallery’s new space will be smaller, but possibly more sustainable. “Less space seems like a negative at first,” Grunder says. “But for us, less rent and less shipping costs to fill the space are going to give us a chance to really establish a sound business model.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For many of the displaced artists, the loss of their work space was a call to action. \u003ca href=\"http://gnourtnart.com/home.html\" target=\"_blank\" rel=\"noopener\">Truong Tran\u003c/a>, a mixed media artist who worked in Studio 17 for four years, wants to make sure other considerations aren’t forgotten in the arguments about square footage, ceiling height and tech versus art. “In this particular case, the developer has a platform to say look at what I’m doing for the good of the arts community,” Tran said at the Aug. 6 Planning Commission hearing. “What is not being addressed is the displacement of the working class and people of color. This is erasure of culture and communities. This is gentrification.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Burning Man's Got Bugs: Cue Radical Itching and Bitching",
"title": "Burning Man's Got Bugs: Cue Radical Itching and Bitching",
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"content": "\u003cp>\u003cstrong>Update:\u003c/strong> Burning Man blogger John Curley reports that the strange bugs that unleashed waves of uncool angst among Burners old and new are \"all but gone.\" Read Curley's report here: \"\u003ca href=\"http://blog.burningman.com/2015/08/building-brc/bugs-what-bugs/\" target=\"_blank\">Bugs? What bugs?\u003c/a>\"\u003c/p>\n\u003cp>\u003cstrong>Original post, Thursday, Aug. 20:\u003c/strong> At first, one almost feels sympathy for The Greater Worldwide Burning Man Community -- not its real name -- about to descend on northwestern Nevada's Black Rock Desert.\u003c/p>\n\u003cp>That's because the site of the fiery annual festival of freedom, free expression, freewheeling inventiveness and free-floating dust is infested with six-legged invaders.\u003c/p>\n\u003cp>John Curley, a former San Francisco Chronicle sports and news editor -- now independent photographer and Burning Man blogger -- gave \u003ca href=\"http://blog.burningman.com/2015/08/building-brc/a-second-generation-and-yeah-those-bugs/\">the lowdown on the invasion\u003c/a> on Tuesday.\u003c/p>\n\u003cp>\"You may have seen the bug rumors on the internet,\" Curley wrote.\"We are here to tell you that they are all true. ... The bugs are real. They’re everywhere. They bite. They crawl all over you. They get up and in you.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gosh. That sounds uncomfortable. Imagine 60,000 or 70,000 people driving out to a remote desert for \u003cem>that\u003c/em>.\u003c/p>\n\u003cp>And maybe that's why the Burning Man blog published another post on Thursday -- this one not attributed to Curley -- headlined \"\u003ca href=\"http://blog.burningman.com/2015/08/environment/bugs-on-the-playa-dont-believe-the-buzz/\" target=\"_blank\">Bugs on the Playa -- Don't Believe the Buzz\u003c/a>.\"\u003c/p>\n\u003cp>The post calls the bugs \"an interesting new challenge\" and urged the hordes expected at the event, which formally opens Aug. 30, not to start hyperventilating about the presence of a few million hungry insects.\u003c/p>\n\u003cp>\"These bugs are more of a mild nuisance than a full-blown infestation that should cause any major concern,\" the post said.\u003c/p>\n\u003cp>Gizmodo published a piece Thursday that makes \u003ca href=\"http://gizmodo.com/weve-identified-those-bugs-infesting-burning-man-and-1725287661\" target=\"_blank\">a convincing attempt\u003c/a> to identify the bugs. The experts cited by the site say there are at least two and perhaps more species involves -- large green stink bugs (family \u003ca href=\"https://en.wikipedia.org/wiki/Pentatomidae\" target=\"_blank\">Pentatomidae\u003c/a>) and some much smaller critters called seed bugs (genus \u003ca href=\"http://www.arizonensis.org/sonoran/fieldguide/arthropoda/nysius.html\" target=\"_blank\">Nysius\u003c/a>).\u003c/p>\n\u003cp>The latest Burning Man post on the Six-Legged Apocalypse calls on participants to remember the event's \u003ca href=\"http://burningman.org/culture/philosophical-center/10-principles/\" target=\"_blank\">principle \u003c/a> of Radical Self-Reliance: \"Burning Man encourages the individual to discover, exercise and rely on his or her inner resources.\"\u003c/p>\n\u003cp>As I said at the outset, one almost feels sympathy for those at the mercy of the seed bug's probing proboscis. Then you encounter what might be called Radical Self-Righteousness.\u003c/p>\n\u003cp>You need look no further than the comments responding to Curley's original bug post to see that not everyone in the Greater Burning Man Enlightenment Sphere is on the same page.\u003c/p>\n\u003cp>One \u003ca href=\"http://blog.burningman.com/2015/08/building-brc/a-second-generation-and-yeah-those-bugs/#comment-1239737\" target=\"_blank\">commenter complained\u003c/a>, perhaps more than a bit plaintively, that the reported Bug-nado might ruin a trip she has made a big sacrifice for:\u003c/p>\n\u003cblockquote>\u003cp>I am not a rich girl, I went broke to come to the festival and be at the whim of the desert… But being that I have paralyzing, allergic reactions to bugs I am disheartened to know that the money I’ve spent to burn will now be spent hardly being able to move.\u003c/p>\n\u003cp>I hope BM does something to get rid of these bugs, because it’s going to be a very painful trip for me. I will still find my way through, however, without complaint. I can’t afford to have thrown my last $1200 down the drain.\u003c/p>\u003c/blockquote>\n\u003cp>You might imagine all the empathy that comment provoked in the Enlightenment Sphere. \u003ca href=\"http://blog.burningman.com/2015/08/building-brc/a-second-generation-and-yeah-those-bugs/#comment-1239798\" target=\"_blank\">For instance\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The origin of the event isn’t to pander to peoples sensitivities. Read the first timers guide please to help reassess your perspective. As a physician with allergy specialization having paralyzing disability from insect stings is unheard of. If you used your last $1200 to come to a non-life sustaining event, I’m more concerned about your safety overall moving forward in the universe. We are guests on the playa, it’s not for us to destroy nature for our comfort....\u003c/p>\u003c/blockquote>\n\u003cp>One other commenter \u003ca href=\"http://blog.burningman.com/2015/08/building-brc/a-second-generation-and-yeah-those-bugs/#comment-1239700\" target=\"_blank\">pointed out\u003c/a> that people who are worried about bugs should relax, bring lots of \u003ca href=\"http://www2.epa.gov/insect-repellents/deet\" target=\"_blank\">DEET\u003c/a>, and remember that Black Rock Desert is toxic by nature.\u003c/p>\n\u003cp>\"You are breathing respirable glass and uranium dust,\" the commenter said. \"DEET’s like a rubber band wound next to a shotgun hole.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>No -- that and the 27,000-some vehicles out at the end of what amounts to a dead-end road -- not my idea of a party. But as others have pointed out, those desert bugs ought to be welcome as part of Burning Man's philosophy of Radical Inclusion.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update:\u003c/strong> Burning Man blogger John Curley reports that the strange bugs that unleashed waves of uncool angst among Burners old and new are \"all but gone.\" Read Curley's report here: \"\u003ca href=\"http://blog.burningman.com/2015/08/building-brc/bugs-what-bugs/\" target=\"_blank\">Bugs? What bugs?\u003c/a>\"\u003c/p>\n\u003cp>\u003cstrong>Original post, Thursday, Aug. 20:\u003c/strong> At first, one almost feels sympathy for The Greater Worldwide Burning Man Community -- not its real name -- about to descend on northwestern Nevada's Black Rock Desert.\u003c/p>\n\u003cp>That's because the site of the fiery annual festival of freedom, free expression, freewheeling inventiveness and free-floating dust is infested with six-legged invaders.\u003c/p>\n\u003cp>John Curley, a former San Francisco Chronicle sports and news editor -- now independent photographer and Burning Man blogger -- gave \u003ca href=\"http://blog.burningman.com/2015/08/building-brc/a-second-generation-and-yeah-those-bugs/\">the lowdown on the invasion\u003c/a> on Tuesday.\u003c/p>\n\u003cp>\"You may have seen the bug rumors on the internet,\" Curley wrote.\"We are here to tell you that they are all true. ... The bugs are real. They’re everywhere. They bite. They crawl all over you. They get up and in you.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gosh. That sounds uncomfortable. Imagine 60,000 or 70,000 people driving out to a remote desert for \u003cem>that\u003c/em>.\u003c/p>\n\u003cp>And maybe that's why the Burning Man blog published another post on Thursday -- this one not attributed to Curley -- headlined \"\u003ca href=\"http://blog.burningman.com/2015/08/environment/bugs-on-the-playa-dont-believe-the-buzz/\" target=\"_blank\">Bugs on the Playa -- Don't Believe the Buzz\u003c/a>.\"\u003c/p>\n\u003cp>The post calls the bugs \"an interesting new challenge\" and urged the hordes expected at the event, which formally opens Aug. 30, not to start hyperventilating about the presence of a few million hungry insects.\u003c/p>\n\u003cp>\"These bugs are more of a mild nuisance than a full-blown infestation that should cause any major concern,\" the post said.\u003c/p>\n\u003cp>Gizmodo published a piece Thursday that makes \u003ca href=\"http://gizmodo.com/weve-identified-those-bugs-infesting-burning-man-and-1725287661\" target=\"_blank\">a convincing attempt\u003c/a> to identify the bugs. The experts cited by the site say there are at least two and perhaps more species involves -- large green stink bugs (family \u003ca href=\"https://en.wikipedia.org/wiki/Pentatomidae\" target=\"_blank\">Pentatomidae\u003c/a>) and some much smaller critters called seed bugs (genus \u003ca href=\"http://www.arizonensis.org/sonoran/fieldguide/arthropoda/nysius.html\" target=\"_blank\">Nysius\u003c/a>).\u003c/p>\n\u003cp>The latest Burning Man post on the Six-Legged Apocalypse calls on participants to remember the event's \u003ca href=\"http://burningman.org/culture/philosophical-center/10-principles/\" target=\"_blank\">principle \u003c/a> of Radical Self-Reliance: \"Burning Man encourages the individual to discover, exercise and rely on his or her inner resources.\"\u003c/p>\n\u003cp>As I said at the outset, one almost feels sympathy for those at the mercy of the seed bug's probing proboscis. Then you encounter what might be called Radical Self-Righteousness.\u003c/p>\n\u003cp>You need look no further than the comments responding to Curley's original bug post to see that not everyone in the Greater Burning Man Enlightenment Sphere is on the same page.\u003c/p>\n\u003cp>One \u003ca href=\"http://blog.burningman.com/2015/08/building-brc/a-second-generation-and-yeah-those-bugs/#comment-1239737\" target=\"_blank\">commenter complained\u003c/a>, perhaps more than a bit plaintively, that the reported Bug-nado might ruin a trip she has made a big sacrifice for:\u003c/p>\n\u003cblockquote>\u003cp>I am not a rich girl, I went broke to come to the festival and be at the whim of the desert… But being that I have paralyzing, allergic reactions to bugs I am disheartened to know that the money I’ve spent to burn will now be spent hardly being able to move.\u003c/p>\n\u003cp>I hope BM does something to get rid of these bugs, because it’s going to be a very painful trip for me. I will still find my way through, however, without complaint. I can’t afford to have thrown my last $1200 down the drain.\u003c/p>\u003c/blockquote>\n\u003cp>You might imagine all the empathy that comment provoked in the Enlightenment Sphere. \u003ca href=\"http://blog.burningman.com/2015/08/building-brc/a-second-generation-and-yeah-those-bugs/#comment-1239798\" target=\"_blank\">For instance\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The origin of the event isn’t to pander to peoples sensitivities. Read the first timers guide please to help reassess your perspective. As a physician with allergy specialization having paralyzing disability from insect stings is unheard of. If you used your last $1200 to come to a non-life sustaining event, I’m more concerned about your safety overall moving forward in the universe. We are guests on the playa, it’s not for us to destroy nature for our comfort....\u003c/p>\u003c/blockquote>\n\u003cp>One other commenter \u003ca href=\"http://blog.burningman.com/2015/08/building-brc/a-second-generation-and-yeah-those-bugs/#comment-1239700\" target=\"_blank\">pointed out\u003c/a> that people who are worried about bugs should relax, bring lots of \u003ca href=\"http://www2.epa.gov/insect-repellents/deet\" target=\"_blank\">DEET\u003c/a>, and remember that Black Rock Desert is toxic by nature.\u003c/p>\n\u003cp>\"You are breathing respirable glass and uranium dust,\" the commenter said. \"DEET’s like a rubber band wound next to a shotgun hole.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>No -- that and the 27,000-some vehicles out at the end of what amounts to a dead-end road -- not my idea of a party. But as others have pointed out, those desert bugs ought to be welcome as part of Burning Man's philosophy of Radical Inclusion.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Forbes Report: S.F.'s Academy of Art Beset by Low Grad Rates, Code Violations",
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"content": "\u003cp>\u003cem>Editor's Note: This post has been updated to include a response from Dr. Elisa Stephens, president of Academy of Art University, as well as audio from a related episode of KQED's Forum. \u003c/em>\u003c/p>\n\u003cp>San Francisco’s Academy of Art University, an institution that's been operating for 86 years, is the nation's biggest private art college. But only 32 percent of its full-time students graduate in six years -- compared with 59 percent for colleges nationally and as high as 90 percent for top-of-the-line art colleges like the Rhode Island School of Design.\u003c/p>\n\u003cp>The September issue of Forbes magazine calls out the for-profit Academy of Art in two investigative reports for having \u003ca href=\"http://www.forbes.com/sites/katiasavchuk/2015/08/19/black-arts-the-800-million-family-selling-art-degrees-and-false-hopes/\" target=\"_blank\">low graduation rates\u003c/a>, nondisclosure of job placements and a student body that's burdened with debt. Forbes also discloses that the Stephens family, which owns the college, has outstanding \u003ca href=\"http://www.forbes.com/sites/katiasavchuk/2015/08/19/how-a-for-profit-university-flouts-san-franciscos-land-use-laws/\" target=\"_blank\">planning code violations\u003c/a> for 31 of 40 buildings it owns throughout the city.\u003c/p>\n\u003cp>In an email response to the Forbes stories, the Academy of Art University said: “We are disappointed that the reporter neglected to interview our successful students and alumni, or spend time in our classrooms. We are very proud of our instructors, our students and the caliber of arts education we provide.”\u003c/p>\n\u003cp>On Monday, August 24, a representative for the university sent a \"formal letter of response\" written by Dr. Elisa Stephens, president of Academy of Art University, to KQED. The letter is addressed to the Forbes' editors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[scribd id=275910004 key=key-BpncYXZTpX68RWdVeCw4 mode=scroll]\u003c/p>\n\u003cp>Forbes reporter Katia Savchuk discussed her investigation in an interview Wednesday, August 20 with KQED's Tara Siler.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/220029135\" 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>Savchuk and Sue Rowley, executive vice president for educational services at \u003ca href=\"http://info.academyart.edu/programs?network=s&cid=81730026791&campaignid=267052751&adgroupid=21893257031&match=e&k=academy%20of%20art%20university&placement=&device=c&authkey=fa262b34-61e7-4654-ba10-1ee9358c979e&pmcode=GSGEN&adposition=1t1&gclid=Cj0KEQjwmNuuBRDTu5rDjr2kxJsBEiQAWlm6UjQdvA9faYwxj3vDp19umfMrQ5712uGhzTQq4z3n6jYaAkZj8P8HAQ\" target=\"_blank\">Academy of Art University\u003c/a> joined \u003ca href=\"http://www.kqed.org/a/forum/R201508200930\" target=\"_blank\">KQED's Forum\u003c/a> on Thursday, August 21. You can listen to that discussion here:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/220149910\" 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor's Note: This post has been updated to include a response from Dr. Elisa Stephens, president of Academy of Art University, as well as audio from a related episode of KQED's Forum. \u003c/em>\u003c/p>\n\u003cp>San Francisco’s Academy of Art University, an institution that's been operating for 86 years, is the nation's biggest private art college. But only 32 percent of its full-time students graduate in six years -- compared with 59 percent for colleges nationally and as high as 90 percent for top-of-the-line art colleges like the Rhode Island School of Design.\u003c/p>\n\u003cp>The September issue of Forbes magazine calls out the for-profit Academy of Art in two investigative reports for having \u003ca href=\"http://www.forbes.com/sites/katiasavchuk/2015/08/19/black-arts-the-800-million-family-selling-art-degrees-and-false-hopes/\" target=\"_blank\">low graduation rates\u003c/a>, nondisclosure of job placements and a student body that's burdened with debt. Forbes also discloses that the Stephens family, which owns the college, has outstanding \u003ca href=\"http://www.forbes.com/sites/katiasavchuk/2015/08/19/how-a-for-profit-university-flouts-san-franciscos-land-use-laws/\" target=\"_blank\">planning code violations\u003c/a> for 31 of 40 buildings it owns throughout the city.\u003c/p>\n\u003cp>In an email response to the Forbes stories, the Academy of Art University said: “We are disappointed that the reporter neglected to interview our successful students and alumni, or spend time in our classrooms. We are very proud of our instructors, our students and the caliber of arts education we provide.”\u003c/p>\n\u003cp>On Monday, August 24, a representative for the university sent a \"formal letter of response\" written by Dr. Elisa Stephens, president of Academy of Art University, to KQED. The letter is addressed to the Forbes' editors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003ciframe\n class=\"scribd_iframe_embed\"\n src=\"//www.scribd.com/embeds/275910004/content?start_page=1&view_mode=&access_key=key-BpncYXZTpX68RWdVeCw4\"\n title=\"http://www.scribd.com/doc/275910004\"\n data-auto-height=\"true\" scrolling=\"no\" id=\"scribd_275910004\"\n width=\"100%\" height=\"500\" frameborder=\"0\">\u003c/iframe>\n \u003ca class=\"utils-parseShortcode-shortcodes-__scribdShortcode__scribd_footer\"\n href=\"http://www.scribd.com/doc/275910004\"\n target=\"_blank\" rel=\"noopener noreferrer\">View this document on Scribd\u003c/a>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Forbes reporter Katia Savchuk discussed her investigation in an interview Wednesday, August 20 with KQED's Tara Siler.\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/220029135&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/220029135'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Savchuk and Sue Rowley, executive vice president for educational services at \u003ca href=\"http://info.academyart.edu/programs?network=s&cid=81730026791&campaignid=267052751&adgroupid=21893257031&match=e&k=academy%20of%20art%20university&placement=&device=c&authkey=fa262b34-61e7-4654-ba10-1ee9358c979e&pmcode=GSGEN&adposition=1t1&gclid=Cj0KEQjwmNuuBRDTu5rDjr2kxJsBEiQAWlm6UjQdvA9faYwxj3vDp19umfMrQ5712uGhzTQq4z3n6jYaAkZj8P8HAQ\" target=\"_blank\">Academy of Art University\u003c/a> joined \u003ca href=\"http://www.kqed.org/a/forum/R201508200930\" target=\"_blank\">KQED's Forum\u003c/a> on Thursday, August 21. You can listen to that discussion here:\u003c/p>\n\u003cp>\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/220149910&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/220149910'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-origins-of-hella",
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"content": "\u003cp>Long associated with the Bay Area, the word ‘hella’ has gained widespread use. But how was the word born? Ventura Albor asked \u003ca href=\"https://www.kqed.org/news/series/baycurious\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Curious\u003c/a>:\u003c/p>\n\u003cp>\u003cstrong>How is it that “hella” became synonymous with the Bay?\u003c/strong>\u003c/p>\n\u003cp>Ventura’s question was inspired by his college days at UC Davis.\u003c/p>\n\u003cfigure id=\"attachment_11178097\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178097\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-800x533.jpg\" alt=\"A UC Berkeley student poses for photos wearing a 'Hella Kitty' shirt from Pure 510, a local custom t-shirt business in Oakland, California.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A UC Berkeley student poses for photos wearing a ‘Hella Kitty’ shirt from Pure 510, a local custom t-shirt business in Oakland, California. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“L.A. folks would [home] in on it right away and be like, ‘Oh you’re from the Bay Area?’ ” he says. “I never really thought of it, I just thought everyone said hella.” \u003c/p>\n\u003ch3>Hella: A Linguistic Boundary\u003c/h3>\n\u003cp>Many Bay Area residents and Californians believe that hella — and its G-rated equivalent “hecka” — are Bay Area slang. The words, which mean “very” or “a lot of,” can be used multiple ways. You can say “I’m hella stoked” or “There were hella people at that party last night,” or even, “I was doing it for hella days.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mary Bucholtz, a linguist at the University of California, Santa Barbara, conducted a study in which people indicated their perceptions of how people talk in certain areas of California.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003ch3>A Guide to Bay Area Slang\u003c/h3>\n\u003cp>\u003cstrong>Hella\u003c/strong> – very, really, extremely; many, a lot; in an extraordinary or impressive manner.\u003cbr>\n\u003cem>“That jacket’s hella dope!”\u003c/em>\u003cbr>\n\u003cstrong>Hyphy\u003c/strong> – hyper, excited\u003cbr>\n\u003cem>“I’m from the Bay where we hyphy and go dumb. From the soil where them rappers be getting their lingo from.” – E-40\u003c/em>\u003cbr>\n\u003cstrong>Off the chain\u003c/strong> – super fun, exciting, great\u003cbr>\n\u003cem>“This party tonight’s gonna be off the chain!”\u003c/em>\u003cbr>\n\u003cstrong>Fa sheezy/fo shizzle\u003c/strong> – for sure\u003cbr>\n\u003cem>“Saturday is off the heezy fo’sheezy.” – Jermaine Dupri\u003c/em>\u003cbr>\n\u003cstrong>Janky\u003c/strong> – poor quality, inferior, weird\u003cbr>\n\u003cem>“Ugh, this umbrella is hella janky.”\u003c/em>\u003cbr>\n\u003cstrong>Baller\u003c/strong> (n)/\u003cstrong>ballin’\u003c/strong> (v) – a ball player, or someone who’s winning “the game” (of life).\u003cbr>\n\u003cem>“Wanna be a baller, shot caller, 20-inch blades on the impala” – Lil’ Troy\u003c/em>\u003c/p>\n\u003c/aside>\n\u003cp>Hella was the most frequently cited word, and 78.4 percent of the people who mentioned it in the study said it was Northern California slang.\u003c/p>\n\u003cp>“For Southern Californians in particular, hella represents a crucial shibboleth separating the two major regions of the state,” says Bucholtz.\u003c/p>\n\u003cp>That’s true for Southern California transplant Bree DeRobbio, now living in San Jose. She remembers the first time she heard someone say hella.\u003c/p>\n\u003cp>“My reaction was ‘Oh my God, they really do say it.’ And I was amazed at all the different applications the word has,” she says.\u003c/p>\n\u003ch3>The Dictionary Says WHAT?\u003c/h3>\n\u003cp>There are at least two origin stories for hella: One places it in Toronto (yes, Canada) and the other in Oakland.\u003c/p>\n\u003cp>More on Oakland later, but first — Toronto? I mean, really?\u003c/p>\n\u003cp>Hella made its first appearance in the Oxford English Dictionary in 2002, and the dictionary says the word was first used in a 1987 article in the Toronto Star:\u003c/p>\n\u003cblockquote>\u003cp>“The horse went hella whoopin’ down the trail, trailing 50 feet or more of the best Berkley Trilene Monofilament line.”\u003c/p>\u003c/blockquote>\n\u003cp>(Sidenote: That part about the best Berkley Trilene Monofilament line refers to a type of fishing line — no relation to Berkeley, Calif.)\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>In fact, hella is identified as Northern American slang that was probably shortened from “helluva” or “hellacious.” But English-language historian Michael Adams says hella’s grammatical usage doesn’t quite align with what the Oxford English Dictionary says.\u003c/p>\n\u003cp>“I’m really skeptical of that etymology that hella comes from helluva because we don’t use hella grammatically in the same way that we would use helluva,” Adams says.\u003c/p>\n\u003cp>What Adams means is you can’t get “hella cute” from “helluva cute,” or say, “My dad’s a hella cook,” even though you could say, “My dad’s a helluva cook.”\u003c/p>\n\u003cp>He also has an explanation for why hella didn’t come from hellacious.\u003c/p>\n\u003cfigure id=\"attachment_10649553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10649553\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-800x532.jpg\" alt=\"Someone turned Fell Street in San Francisco into Hella Street. (kyle rw/Flickr)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-1440x958.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Someone turned Fell Street in San Francisco into Hella Street. (kyle rw/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>“The suffix from hellacious is ‘—acious,’ like tenacious, and if you’re going to break a word, you’re usually going to break a word where there’s a boundary between its parts,” Adams says.\u003c/p>\n\u003cp>According to this theory, the natural break for hellacious would make it “hell-aysh,” not hella.\u003c/p>\n\u003ch3>From Oakland Teens to the Rest of the World\u003c/h3>\n\u003cp>UC Berkeley linguist Geoff Nunberg traces hella back a few more years, to Oakland, from two early citations in a 1987 \u003ca href=\"https://books.google.com/books?id=k-NIAQAAMAAJ&q=Second+Class+Finish:+The+Effects+of+Rituals+and+Routines+of+a+Working-class+High+School,+Volume+2&dq=Second+Class+Finish:+The+Effects+of+Rituals+and+Routines+of+a+Working-class+High+School,+Volume+2&hl=en&sa=X&ved=0CB4Q6AEwAGoVChMI6OGT39u2xwIVUFaICh3jbQDI\" target=\"_blank\" rel=\"noopener noreferrer\">dissertation\u003c/a> of a Berkeley student.\u003c/p>\n\u003cfigure id=\"attachment_10650083\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10650083 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1440x1080.jpg\" alt=\"Some in Oakland have embraced the word. Mayor Libby Schaaf often used it while campaigning, saying 'I hella love Oakland' and 'It is hella time for leadership in Oakland.'\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Some in Oakland have embraced the word. Mayor Libby Schaaf often used it while campaigning, saying ‘I hella love Oakland’ and ‘It is hella time for leadership in Oakland.’ \u003ccite>(cplbasilisk/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hella emerged somewhere in Northern California around the late 1970s, and although it spread to other places, it’s still associated with this region,” says Nunberg.\u003c/p>\n\u003cp>Historically, slang spreads from black English to white English and not in the other direction, which is why Nunberg says he suspects it started in Oakland.\u003c/p>\n\u003cp>Phrases like “cool” and “tell it like it is” are good examples.\u003c/p>\n\u003cp>“ ‘Cool’ was adopted by white hipsters and beatniks in the early ‘50s before spreading to teen slang. ‘Tell it like it is’ was used by black writers in the early ’60s and quickly became part of general white English,” he says.[aside tag='bay-curious' label='Looking for More Bay Curious?']\u003c/p>\n\u003cp>That lines up with what multimedia producer Sean Kennedy, an Oakland native, recalls.\u003c/p>\n\u003cp>He remembers saying hella with the kids on his Pop Warner football team and at King Estates Junior High School in the late ’70s.\u003c/p>\n\u003cp>“Very rarely in the African-American or black community do we pick up other people’s language and use them,” he says. “It’s usually the language we create and other people use them.”\u003c/p>\n\u003cp>At that time, hip-hop and street culture gained widespread popularity.\u003c/p>\n\u003cp>“It was used in a manner of explaining, ‘That looked hella good— that looked good’—something that was clean, or somebody acting crazy, ‘You’re hella crazy,’ ” Kennedy says.\u003c/p>\n\u003ch3>Bay Area Punks Debate Hella Vs. Hell Of\u003c/h3>\n\u003caside class=\"alignright\">\n\u003ch3>“Hell of Dumb” by the Mr. T. Experience\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"369\" height=\"277\" src=\"https://www.youtube.com/embed/-R_TW_ZqHw4\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>In early years, Bay Area youth debated whether the slang word was hella or actually “hell of.”\u003c/p>\n\u003cp>In Berkeley, the debate could get quite heated, says punk rocker Frank Portman. In 1997, he wrote a song called “Hell of Dumb,” poking fun at the issue with his band the Mr. T. Experience. He thinks the hella vs. hell of debate goes back to 1983.\u003c/p>\n\u003cp>“It was always very clear that it was hell of. It was not hella and if anyone ever said hella, which sometimes people did, they would always correct you with the attitude of a school marm correcting your grammar,” Portman says.\u003c/p>\n\u003ch3>Hella Now\u003c/h3>\n\u003cp>Since those early days, widespread use of hell of, hellacious and helluva has dwindled — leaving hella to stand alone.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003ch3>Cartman uses hella in South Park\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"369\" height=\"208\" src=\"https://www.youtube.com/embed/7pohEb7DUac\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>Hella got a national audience in the South Park episode “Spookyfish,” from the second season.\u003c/p>\n\u003cp>Cartman taunts Stan and Kyle by singing, “You guys are hella stupid, you guys are hella lame, you guys are hella dumb hella, hella, hella.”\u003c/p>\n\u003cp>The word may be one of Northern California’s most notorious cultural exports.\u003c/p>\n\u003cp>You’re welcome, world.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Got a question you want to see the Bay Curious team take on? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\" rel=\"noopener noreferrer\">Submit it!\u003c/a> Be sure to subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes\u003c/a>, \u003ca href=\"https://play.google.com/music/listen?u=0#/ps/Ipi2mc5aqfen4nr2daayiziiyuy\">Google Play\u003c/a> or \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\">NPR One\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long associated with the Bay Area, the word ‘hella’ has gained widespread use. But how was the word born? Ventura Albor asked \u003ca href=\"https://www.kqed.org/news/series/baycurious\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Curious\u003c/a>:\u003c/p>\n\u003cp>\u003cstrong>How is it that “hella” became synonymous with the Bay?\u003c/strong>\u003c/p>\n\u003cp>Ventura’s question was inspired by his college days at UC Davis.\u003c/p>\n\u003cfigure id=\"attachment_11178097\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178097\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-800x533.jpg\" alt=\"A UC Berkeley student poses for photos wearing a 'Hella Kitty' shirt from Pure 510, a local custom t-shirt business in Oakland, California.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A UC Berkeley student poses for photos wearing a ‘Hella Kitty’ shirt from Pure 510, a local custom t-shirt business in Oakland, California. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“L.A. folks would [home] in on it right away and be like, ‘Oh you’re from the Bay Area?’ ” he says. “I never really thought of it, I just thought everyone said hella.” \u003c/p>\n\u003ch3>Hella: A Linguistic Boundary\u003c/h3>\n\u003cp>Many Bay Area residents and Californians believe that hella — and its G-rated equivalent “hecka” — are Bay Area slang. The words, which mean “very” or “a lot of,” can be used multiple ways. You can say “I’m hella stoked” or “There were hella people at that party last night,” or even, “I was doing it for hella days.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mary Bucholtz, a linguist at the University of California, Santa Barbara, conducted a study in which people indicated their perceptions of how people talk in certain areas of California.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003ch3>A Guide to Bay Area Slang\u003c/h3>\n\u003cp>\u003cstrong>Hella\u003c/strong> – very, really, extremely; many, a lot; in an extraordinary or impressive manner.\u003cbr>\n\u003cem>“That jacket’s hella dope!”\u003c/em>\u003cbr>\n\u003cstrong>Hyphy\u003c/strong> – hyper, excited\u003cbr>\n\u003cem>“I’m from the Bay where we hyphy and go dumb. From the soil where them rappers be getting their lingo from.” – E-40\u003c/em>\u003cbr>\n\u003cstrong>Off the chain\u003c/strong> – super fun, exciting, great\u003cbr>\n\u003cem>“This party tonight’s gonna be off the chain!”\u003c/em>\u003cbr>\n\u003cstrong>Fa sheezy/fo shizzle\u003c/strong> – for sure\u003cbr>\n\u003cem>“Saturday is off the heezy fo’sheezy.” – Jermaine Dupri\u003c/em>\u003cbr>\n\u003cstrong>Janky\u003c/strong> – poor quality, inferior, weird\u003cbr>\n\u003cem>“Ugh, this umbrella is hella janky.”\u003c/em>\u003cbr>\n\u003cstrong>Baller\u003c/strong> (n)/\u003cstrong>ballin’\u003c/strong> (v) – a ball player, or someone who’s winning “the game” (of life).\u003cbr>\n\u003cem>“Wanna be a baller, shot caller, 20-inch blades on the impala” – Lil’ Troy\u003c/em>\u003c/p>\n\u003c/aside>\n\u003cp>Hella was the most frequently cited word, and 78.4 percent of the people who mentioned it in the study said it was Northern California slang.\u003c/p>\n\u003cp>“For Southern Californians in particular, hella represents a crucial shibboleth separating the two major regions of the state,” says Bucholtz.\u003c/p>\n\u003cp>That’s true for Southern California transplant Bree DeRobbio, now living in San Jose. She remembers the first time she heard someone say hella.\u003c/p>\n\u003cp>“My reaction was ‘Oh my God, they really do say it.’ And I was amazed at all the different applications the word has,” she says.\u003c/p>\n\u003ch3>The Dictionary Says WHAT?\u003c/h3>\n\u003cp>There are at least two origin stories for hella: One places it in Toronto (yes, Canada) and the other in Oakland.\u003c/p>\n\u003cp>More on Oakland later, but first — Toronto? I mean, really?\u003c/p>\n\u003cp>Hella made its first appearance in the Oxford English Dictionary in 2002, and the dictionary says the word was first used in a 1987 article in the Toronto Star:\u003c/p>\n\u003cblockquote>\u003cp>“The horse went hella whoopin’ down the trail, trailing 50 feet or more of the best Berkley Trilene Monofilament line.”\u003c/p>\u003c/blockquote>\n\u003cp>(Sidenote: That part about the best Berkley Trilene Monofilament line refers to a type of fishing line — no relation to Berkeley, Calif.)\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>In fact, hella is identified as Northern American slang that was probably shortened from “helluva” or “hellacious.” But English-language historian Michael Adams says hella’s grammatical usage doesn’t quite align with what the Oxford English Dictionary says.\u003c/p>\n\u003cp>“I’m really skeptical of that etymology that hella comes from helluva because we don’t use hella grammatically in the same way that we would use helluva,” Adams says.\u003c/p>\n\u003cp>What Adams means is you can’t get “hella cute” from “helluva cute,” or say, “My dad’s a hella cook,” even though you could say, “My dad’s a helluva cook.”\u003c/p>\n\u003cp>He also has an explanation for why hella didn’t come from hellacious.\u003c/p>\n\u003cfigure id=\"attachment_10649553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10649553\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-800x532.jpg\" alt=\"Someone turned Fell Street in San Francisco into Hella Street. (kyle rw/Flickr)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-1440x958.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Someone turned Fell Street in San Francisco into Hella Street. (kyle rw/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>“The suffix from hellacious is ‘—acious,’ like tenacious, and if you’re going to break a word, you’re usually going to break a word where there’s a boundary between its parts,” Adams says.\u003c/p>\n\u003cp>According to this theory, the natural break for hellacious would make it “hell-aysh,” not hella.\u003c/p>\n\u003ch3>From Oakland Teens to the Rest of the World\u003c/h3>\n\u003cp>UC Berkeley linguist Geoff Nunberg traces hella back a few more years, to Oakland, from two early citations in a 1987 \u003ca href=\"https://books.google.com/books?id=k-NIAQAAMAAJ&q=Second+Class+Finish:+The+Effects+of+Rituals+and+Routines+of+a+Working-class+High+School,+Volume+2&dq=Second+Class+Finish:+The+Effects+of+Rituals+and+Routines+of+a+Working-class+High+School,+Volume+2&hl=en&sa=X&ved=0CB4Q6AEwAGoVChMI6OGT39u2xwIVUFaICh3jbQDI\" target=\"_blank\" rel=\"noopener noreferrer\">dissertation\u003c/a> of a Berkeley student.\u003c/p>\n\u003cfigure id=\"attachment_10650083\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10650083 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1440x1080.jpg\" alt=\"Some in Oakland have embraced the word. Mayor Libby Schaaf often used it while campaigning, saying 'I hella love Oakland' and 'It is hella time for leadership in Oakland.'\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Some in Oakland have embraced the word. Mayor Libby Schaaf often used it while campaigning, saying ‘I hella love Oakland’ and ‘It is hella time for leadership in Oakland.’ \u003ccite>(cplbasilisk/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hella emerged somewhere in Northern California around the late 1970s, and although it spread to other places, it’s still associated with this region,” says Nunberg.\u003c/p>\n\u003cp>Historically, slang spreads from black English to white English and not in the other direction, which is why Nunberg says he suspects it started in Oakland.\u003c/p>\n\u003cp>Phrases like “cool” and “tell it like it is” are good examples.\u003c/p>\n\u003cp>“ ‘Cool’ was adopted by white hipsters and beatniks in the early ‘50s before spreading to teen slang. ‘Tell it like it is’ was used by black writers in the early ’60s and quickly became part of general white English,” he says.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That lines up with what multimedia producer Sean Kennedy, an Oakland native, recalls.\u003c/p>\n\u003cp>He remembers saying hella with the kids on his Pop Warner football team and at King Estates Junior High School in the late ’70s.\u003c/p>\n\u003cp>“Very rarely in the African-American or black community do we pick up other people’s language and use them,” he says. “It’s usually the language we create and other people use them.”\u003c/p>\n\u003cp>At that time, hip-hop and street culture gained widespread popularity.\u003c/p>\n\u003cp>“It was used in a manner of explaining, ‘That looked hella good— that looked good’—something that was clean, or somebody acting crazy, ‘You’re hella crazy,’ ” Kennedy says.\u003c/p>\n\u003ch3>Bay Area Punks Debate Hella Vs. Hell Of\u003c/h3>\n\u003caside class=\"alignright\">\n\u003ch3>“Hell of Dumb” by the Mr. T. Experience\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"369\" height=\"277\" src=\"https://www.youtube.com/embed/-R_TW_ZqHw4\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>In early years, Bay Area youth debated whether the slang word was hella or actually “hell of.”\u003c/p>\n\u003cp>In Berkeley, the debate could get quite heated, says punk rocker Frank Portman. In 1997, he wrote a song called “Hell of Dumb,” poking fun at the issue with his band the Mr. T. Experience. He thinks the hella vs. hell of debate goes back to 1983.\u003c/p>\n\u003cp>“It was always very clear that it was hell of. It was not hella and if anyone ever said hella, which sometimes people did, they would always correct you with the attitude of a school marm correcting your grammar,” Portman says.\u003c/p>\n\u003ch3>Hella Now\u003c/h3>\n\u003cp>Since those early days, widespread use of hell of, hellacious and helluva has dwindled — leaving hella to stand alone.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003ch3>Cartman uses hella in South Park\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"369\" height=\"208\" src=\"https://www.youtube.com/embed/7pohEb7DUac\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>Hella got a national audience in the South Park episode “Spookyfish,” from the second season.\u003c/p>\n\u003cp>Cartman taunts Stan and Kyle by singing, “You guys are hella stupid, you guys are hella lame, you guys are hella dumb hella, hella, hella.”\u003c/p>\n\u003cp>The word may be one of Northern California’s most notorious cultural exports.\u003c/p>\n\u003cp>You’re welcome, world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"marketplace": {
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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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"mindshift": {
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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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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
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