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"content": "\u003cp>With all of the dramatic changes taking place in the Bay Area due to development and gentrification, Oakland cultural workers and entrepreneurs \u003ca href=\"https://twitter.com/blublakwomyn\" target=\"_blank\" rel=\"noopener\">Ashara Ekundayo\u003c/a>, \u003ca href=\"https://twitter.com/solespace1\" target=\"_blank\" rel=\"noopener\">Jeff Perlstein\u003c/a> and \u003ca href=\"https://twitter.com/MNichollsDesign\" target=\"_blank\" rel=\"noopener\">Mike Nicholls \u003c/a>are igniting a community conversation at their collaborative event called \u003ca href=\"https://oakland.impacthub.net/event/pechakucha-night-oakland-vol-4-placemakingplace/\" target=\"_blank\" rel=\"noopener\">PechaKucha Night Oakland\u003c/a>.\u003c/p>\n\u003cp>What Does\u003cem> PechaKucha \u003c/em>mean?\u003c/p>\n\u003cp>PechaKucha is derived from a Japanese term meaning the sound of conversation, or chit-chat. \u003ca href=\"http://www.pechakucha.org/\">PechaKucha Night\u003c/a>, now in over 700 cities, was devised in Tokyo in February 2003 as an event for designers to meet, network, and share their work in a creative, social and informal setting with friends. Each presenter is allowed 20 images, each shown for 20 seconds, for a total of 6 minutes 40 seconds of floor time before the next presenter is up. This fast paced format keeps presenters succinct.\u003c/p>\n\u003cp>This Saturday, \u003ca href=\"https://oakland.impacthub.net/event/pechakucha-night-oakland-vol-4-placemakingplace/\">PechaKucha Night Oakland\u003c/a> will bring together a dynamic mix of presenters from all domains of creative activity, including activists, architects, artists, designers, entrepreneurs, fabricators and makers to present on the theme of \u003cstrong>Place/Making/Place\u003c/strong>, exploring how Oakland’s creative class can help define a policy strategy for development and community building at a city-wide level. Ten presenters will share their interpretations of place and identity as it relates to making and maintaining a neighborhood, a relationship, a business or a community. \u003c/p>\n\u003cp>\u003ca href=\"http://www.youthinarts.org/artist/keith-k-dub-williams/\" target=\"_blank\" rel=\"noopener\">Keith ‘K-Dub’ Williams\u003c/a>, one of Saturday night’s presenters, has been leading the charge to repair and improve the skate park in West Oakland’s DeFremery Park, which is often called “\u003ca href=\"https://www.facebook.com/pages/Build-Town-Park/153235964782006?sk=info\" target=\"_blank\" rel=\"noopener\">Town Park\u003c/a>.” His organization also produces skateboard and youth art festivals in Oakland, San Francisco, Los Angeles and Las Vegas, giving young people a creative platform to share their skills. Williams says Oakland residents, youth and artists need to “define a new direction for Oakland or it will be something like what the Mission has become — only recognizable by the street names.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Designer Deanna Van Buren from \u003ca href=\"http://www.fourmdesignstudio.com/\" target=\"_blank\" rel=\"noopener\">Fourm Design Studio\u003c/a> will also be presenting on Saturday night. Van Buren calls out residents and artists to be more pro-active about engaging innovators and policy makers “in dialogue around the importance of place-making that supports the kind of communities we want to see.”\u003c/p>\n\u003cfigure id=\"attachment_10139361\" class=\"wp-caption alignright\" style=\"max-width: 1197px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Fourm-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139361 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Fourm-2.jpg\" alt=\"Fourm 2\" width=\"1197\" height=\"913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Fourm-2.jpg 1197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Fourm-2-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Fourm-2-300x228.jpg 300w\" sizes=\"(max-width: 1197px) 100vw, 1197px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Image from Fourm Design Studio’s mapping exercise at Impact Hub Oakland with local restorative justice leaders to envision a new Oakland. \u003ccite>(Fourm Design Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://oakland.impacthub.net/event/pechakucha-night-oakland-vol-4-placemakingplace/\" target=\"_blank\" rel=\"noopener\">PechaKucha Night Oakland\u003c/a> organizer Jeff Perlstein from\u003ca href=\"http://solespace.com/\" target=\"_blank\" rel=\"noopener\"> SoleSpace\u003c/a> says, “It’s a night of ‘thinking while drinking’ in Uptown Oakland.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>PechaKucha Night Oakland, Vol. 4 will be held on Saturday July 26, 2014 from 7-11pm at \u003ca href=\"https://oakland.impacthub.net/\" target=\"_blank\" rel=\"noopener\">Impact Hub Oakland\u003c/a>, 2323 Broadway. For \u003ca href=\"http://www.eventbrite.com/e/pechakucha-night-oakland-vol-4-tickets-12141679089\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit eventbrite.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Designer Deanna Van Buren from \u003ca href=\"http://www.fourmdesignstudio.com/\" target=\"_blank\" rel=\"noopener\">Fourm Design Studio\u003c/a> will also be presenting on Saturday night. Van Buren calls out residents and artists to be more pro-active about engaging innovators and policy makers “in dialogue around the importance of place-making that supports the kind of communities we want to see.”\u003c/p>\n\u003cfigure id=\"attachment_10139361\" class=\"wp-caption alignright\" style=\"max-width: 1197px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Fourm-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139361 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Fourm-2.jpg\" alt=\"Fourm 2\" width=\"1197\" height=\"913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Fourm-2.jpg 1197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Fourm-2-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Fourm-2-300x228.jpg 300w\" sizes=\"(max-width: 1197px) 100vw, 1197px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Image from Fourm Design Studio’s mapping exercise at Impact Hub Oakland with local restorative justice leaders to envision a new Oakland. \u003ccite>(Fourm Design Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://oakland.impacthub.net/event/pechakucha-night-oakland-vol-4-placemakingplace/\" target=\"_blank\" rel=\"noopener\">PechaKucha Night Oakland\u003c/a> organizer Jeff Perlstein from\u003ca href=\"http://solespace.com/\" target=\"_blank\" rel=\"noopener\"> SoleSpace\u003c/a> says, “It’s a night of ‘thinking while drinking’ in Uptown Oakland.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>PechaKucha Night Oakland, Vol. 4 will be held on Saturday July 26, 2014 from 7-11pm at \u003ca href=\"https://oakland.impacthub.net/\" target=\"_blank\" rel=\"noopener\">Impact Hub Oakland\u003c/a>, 2323 Broadway. For \u003ca href=\"http://www.eventbrite.com/e/pechakucha-night-oakland-vol-4-tickets-12141679089\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit eventbrite.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Return of San Francisco's The LAB, a Historic Experimental Art Space",
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"content": "\u003cp>Last week it was announced that Bay Area curator Dena Beard, outgoing assistant curator at Berkeley Art Museum and Pacific Film Archive, will assume the role of executive director at The LAB beginning August 1. In a time when the economic threat to nonprofit organizations is of paramount concern, it is uncommonly exciting to hear plans to revitalize one of the city’s legacy experimental spaces.\u003c/p>\n\u003cfigure id=\"attachment_10139439\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg\" alt=\"Margaret Kilgallen painting window signage at The LAB, February 1997. Courtesy of Barry McGee.\" width=\"800\" height=\"1067\" class=\"size-full wp-image-10139439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage-224x300.jpg 224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Margaret Kilgallen painting window signage at The LAB, February 1997. Courtesy of Barry McGee. \u003ccite>(Courtesy of Barry McGee.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its 30-year history, The LAB has been widely known for showcasing radical, edgy, experimental music, performance art and visual art. The list of artists is too vast to go into here, but a sample includes Bruce Connor, Karen Finley, Guillermo Gómez Peña, Margaret Kilgallen (whose hand lettered sign graces the entrance), Barry McGee, Survival Research Laboratories, Rex Ray and Pamela Z, among many others. Co-Lab, as it was originally called, was founded in 1984 by a group of art students from San Francisco State University; by 1985 it was known as The LAB. In 1995, it moved from its original space on Divisadero to its current location in the historic Redstone Building in the Mission District.\u003c/p>\n\u003cp>The Redstone Building, previously known as The San Francisco Labor Temple, originally housed 22 labor unions and was an instrumental site in the planning of the 1934 San Francisco General Strike for better working conditions and enforcement of the 40-hour work week. In 1996, the LAB partnered with Aaron Noble of Clarion Alley Mural Project to produce a series of murals on-site created by artists and building occupants. The murals, still visible today, feature work by Carolyn Castano, McGee, Ruby Neri and Rigo ’96, among others.\u003c/p>\n\u003cfigure id=\"attachment_10139406\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139406\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg\" alt=\"Performance detail: Division of Labor, July 2011, The LAB.\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011-300x198.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Performance detail: Division of Labor, July 2011, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years The LAB had foundered due to “inexperienced leadership,” in Beard’s words, compounded by the absence of strategic planning and fundraising. Also, taxes weren’t properly handled and fees began to accrue. A year ago, Beard secured pro-bono services from a team of lawyers to free the organization from its debt to the IRS and to arrange a feasible repayment plan. She has also laid the groundwork to confront the financial challenges ahead with careful planning and a bevy of allies, including many of the artists historically invested in the organization. Alan Millar, one of the LAB’s founding artists, is returning as board president this year.\u003c/p>\n\u003cp>“I want LAB audiences to be inspired by the \u003cem>way\u003c/em> we work, not just what is produced,” said Beard in an e-mail. The first phase of programs under her leadership will consist of projects that re-think the model of a non-profit art space, through considerations of its physical facility, its histories and its space in the online environment.\u003c/p>\n\u003cfigure id=\"attachment_10139410\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139410\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg\" alt=\"Installation detail: 10-22-38 Astoria, October 2012, The LAB.\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">10-22-38 Astoria, FICTILIS, featuring work by Danielle McCullough, October 2012, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>Beard is thinking about the programming ahead in terms borrowed from much of the current debate around grassroots efforts. The first exhibition and series of programs will coincide with the 100\u003csup>th\u003c/sup> anniversary of the Redstone Building. A much needed renovation of The LAB’s gallery and performance spaces will highlight the raw space by adding wall labels that detail the labor of artists who participated in the refurbishment; and a series of programs will engage union leaders, scholars, and activist/artists. In October, there will be a series of “alternative archiving events” aimed to exhume past projects, including a séance for the Maria Nordman Archive and meetings of The Rat Bitches Protective Association (in honor of Jay DeFeo, Bruce Connor and others).\u003c/p>\n\u003cfigure id=\"attachment_10139412\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg\" alt=\"Exhibition detail, featuring works by Seth Curcio, Bradley Hyppa, Benjamin Meyer; May 2011, The LAB.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition detail, featuring works by Seth Curcio, Bradley Hyppa, Benjamin Meyer; May 2011, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>The decision to revive The LAB comes at the height of national dialog about whether or not to “sunset” failing nonprofits. The continuing discourse on the subject recently reached a fever pitch after \u003ca href=\"https://medium.com/@devonvsmith/we-should-allow-failing-arts-organizations-to-die-20c05e78afb9\">an article\u003c/a> by Devon Smith titled “We should allow failing arts organizations to die” was widely circulated online. Responding to this debate, Beard said, “Risks need to be taken to keep the non-profit fresh and relevant in the communities they serve. With a new strategic plan and a refresh of its mission, The LAB will really become both a current and historical resource for the San Francisco community.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The majority of events and conversations related to this rethinking will be free, but September–December will be peppered with fundraising efforts that take a self-conscious approach to understanding patronage in our current moment,” she said. “I am committed to problematizing capital (and therefore the status quo) but I am also a devout hedonist, so I firmly believe that the process should be fun!”\u003c/p>\n\n",
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"excerpt": "After years of reportedly flailing under \"inexperienced leadership,\" a new executive director at the influential San Francisco art space the LAB is implementing some big changes so that the space can return to its former glory.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week it was announced that Bay Area curator Dena Beard, outgoing assistant curator at Berkeley Art Museum and Pacific Film Archive, will assume the role of executive director at The LAB beginning August 1. In a time when the economic threat to nonprofit organizations is of paramount concern, it is uncommonly exciting to hear plans to revitalize one of the city’s legacy experimental spaces.\u003c/p>\n\u003cfigure id=\"attachment_10139439\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg\" alt=\"Margaret Kilgallen painting window signage at The LAB, February 1997. Courtesy of Barry McGee.\" width=\"800\" height=\"1067\" class=\"size-full wp-image-10139439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage-224x300.jpg 224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Margaret Kilgallen painting window signage at The LAB, February 1997. Courtesy of Barry McGee. \u003ccite>(Courtesy of Barry McGee.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its 30-year history, The LAB has been widely known for showcasing radical, edgy, experimental music, performance art and visual art. The list of artists is too vast to go into here, but a sample includes Bruce Connor, Karen Finley, Guillermo Gómez Peña, Margaret Kilgallen (whose hand lettered sign graces the entrance), Barry McGee, Survival Research Laboratories, Rex Ray and Pamela Z, among many others. Co-Lab, as it was originally called, was founded in 1984 by a group of art students from San Francisco State University; by 1985 it was known as The LAB. In 1995, it moved from its original space on Divisadero to its current location in the historic Redstone Building in the Mission District.\u003c/p>\n\u003cp>The Redstone Building, previously known as The San Francisco Labor Temple, originally housed 22 labor unions and was an instrumental site in the planning of the 1934 San Francisco General Strike for better working conditions and enforcement of the 40-hour work week. In 1996, the LAB partnered with Aaron Noble of Clarion Alley Mural Project to produce a series of murals on-site created by artists and building occupants. The murals, still visible today, feature work by Carolyn Castano, McGee, Ruby Neri and Rigo ’96, among others.\u003c/p>\n\u003cfigure id=\"attachment_10139406\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139406\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg\" alt=\"Performance detail: Division of Labor, July 2011, The LAB.\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011-300x198.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Performance detail: Division of Labor, July 2011, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years The LAB had foundered due to “inexperienced leadership,” in Beard’s words, compounded by the absence of strategic planning and fundraising. Also, taxes weren’t properly handled and fees began to accrue. A year ago, Beard secured pro-bono services from a team of lawyers to free the organization from its debt to the IRS and to arrange a feasible repayment plan. She has also laid the groundwork to confront the financial challenges ahead with careful planning and a bevy of allies, including many of the artists historically invested in the organization. Alan Millar, one of the LAB’s founding artists, is returning as board president this year.\u003c/p>\n\u003cp>“I want LAB audiences to be inspired by the \u003cem>way\u003c/em> we work, not just what is produced,” said Beard in an e-mail. The first phase of programs under her leadership will consist of projects that re-think the model of a non-profit art space, through considerations of its physical facility, its histories and its space in the online environment.\u003c/p>\n\u003cfigure id=\"attachment_10139410\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139410\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg\" alt=\"Installation detail: 10-22-38 Astoria, October 2012, The LAB.\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">10-22-38 Astoria, FICTILIS, featuring work by Danielle McCullough, October 2012, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>Beard is thinking about the programming ahead in terms borrowed from much of the current debate around grassroots efforts. The first exhibition and series of programs will coincide with the 100\u003csup>th\u003c/sup> anniversary of the Redstone Building. A much needed renovation of The LAB’s gallery and performance spaces will highlight the raw space by adding wall labels that detail the labor of artists who participated in the refurbishment; and a series of programs will engage union leaders, scholars, and activist/artists. In October, there will be a series of “alternative archiving events” aimed to exhume past projects, including a séance for the Maria Nordman Archive and meetings of The Rat Bitches Protective Association (in honor of Jay DeFeo, Bruce Connor and others).\u003c/p>\n\u003cfigure id=\"attachment_10139412\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg\" alt=\"Exhibition detail, featuring works by Seth Curcio, Bradley Hyppa, Benjamin Meyer; May 2011, The LAB.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition detail, featuring works by Seth Curcio, Bradley Hyppa, Benjamin Meyer; May 2011, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>The decision to revive The LAB comes at the height of national dialog about whether or not to “sunset” failing nonprofits. The continuing discourse on the subject recently reached a fever pitch after \u003ca href=\"https://medium.com/@devonvsmith/we-should-allow-failing-arts-organizations-to-die-20c05e78afb9\">an article\u003c/a> by Devon Smith titled “We should allow failing arts organizations to die” was widely circulated online. Responding to this debate, Beard said, “Risks need to be taken to keep the non-profit fresh and relevant in the communities they serve. With a new strategic plan and a refresh of its mission, The LAB will really become both a current and historical resource for the San Francisco community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The majority of events and conversations related to this rethinking will be free, but September–December will be peppered with fundraising efforts that take a self-conscious approach to understanding patronage in our current moment,” she said. “I am committed to problematizing capital (and therefore the status quo) but I am also a devout hedonist, so I firmly believe that the process should be fun!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the nearly two months since San Francisco’s oldest nonprofit artists’ space Intersection for the Arts \u003ca href=\"http://ww2.kqed.org/arts/2014/05/22/san-franciscos-intersection-for-the-arts-suspends-programs-lays-off-curators/\">announced a “reorganization,”\u003c/a> suspended programming and laid off key staff, there has been a lot of talk about the fate of the organization and what it represents for the future of the city’s culture. But these conversations have happened in private circles or online in social media. This last Tuesday, July 15, Intersection hosted a community meeting to discuss its future with the public.\u003c/p>\n\u003cp>It was a packed house. Indeed, it was one of the most robustly attended, culturally diverse events I’ve seen in the city. Stakeholders of every ilk were represented in this gathering of some 150 people, including members, artists, students, elders, curators, writers, nonprofit leaders, philanthropists, and city employees. Attendance was further enriched by the range of cultural interests, including performance, community arts, visual arts, music, literature, and social justice\u003c/p>\n\u003cp>In this sense, the evening was a pure reflection of what Intersection has always done best: create community at the intersection of different cultures. Looking around at the many brilliant figures and arts leaders in the room, it seemed that anything was possible.\u003c/p>\n\u003cfigure id=\"attachment_10139285\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection2.jpg\" alt=\"Exhibition installation detail: Here Be Dragons, October 2011 - January 2012, featuring work by Val Britton and Tucker Nichols, Intersection for the Arts.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10139285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection2-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition installation detail: \u003cb>Here Be Dragons\u003c/b>, October 2011 – January 2012, featuring work by Val Britton and Tucker Nichols, Intersection for the Arts.\u003c/figcaption>\u003c/figure>\n\u003cp>The meeting was led by a transition team of volunteers, including board members, the former program directors, and former Executive Director Deborah Cullinan, among others. After a brief set of introductions, five breakout groups were organized to gather feedback about the future, based on programming themes of “visual arts,” “performance,” “community engagement,” “shared spaces and new models,” and “fundraising.” The message from the outset was that the community would have the opportunity to shape the future. Though forward thinking, many were bewildered by the absence of a statement about what brought Intersection to its current state.\u003c/p>\n\u003cp>I floated between several of the groups. In each I heard shared concerns about maintaining the core values of the organization, prioritizing artists and work related to social justice. Whether or not the organization needed a dedicated space was also a consideration, with good arguments in favor of both dedicated space and nomadic programming. Partnerships with different organizations were also discussed. There was talk about the struggle to raise money and how the funding system for nonprofits has evolved in the last ten years. (My favorite comment came from a woman who said that we all need to be “pimps” in this business: Public Individuals Manifesting Power.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In another session someone asked, after one person suggested curtailing programs, “I am not sure what we are doing here. Are we trying to rebuild or are we scratching things off?” Likening the lack of information around the reorganization to the collapse of the Bay Bridge, she asked, “Why did this bridge fall down?”\u003c/p>\n\u003cp>Questions about the state of affairs and accountability were asked quietly and repeatedly, though most were reluctant to ask directly. In all fairness, it was difficult to know whom to ask. The present Interim Executive Director Randy Rollison made no statement and is not participating in the transition team. The board members are essentially the last ones standing, but there wasn’t an obvious sense of any one of them taking the lead.\u003c/p>\n\u003cfigure id=\"attachment_10139286\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection3.jpg\" alt=\"Exhibition installation detail: Here Be Dragons, October 2011 - January 2012, featuring work by Wendy McNaughton, Lordy Rodriguez, and Tucker Nichols, Intersection for the Arts.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10139286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection3-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection3-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition installation detail: \u003cb>Here Be Dragons\u003c/b>, October 2011 – January 2012, featuring work by Wendy McNaughton, Lordy Rodriguez, and Tucker Nichols, Intersection for the Arts.\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, following the breakout groups, Board President Yancy Widmer addressed persistent questions about the organization’s difficulties. The challenges, he said, could be attributed to a “perfect storm.” He summarily cited a lack of unrestricted income, the absence of a significant reserve, the executive director’s leadership transition, as well as anticipated funds and community contributions that didn’t come through this year. “The board spent a lot of time trying to figure out the complexity of the situation and took too long,” he said. (So it would seem, given that Cullinan left in September 2013 after giving three months notice to transition to her new role as executive director at Yerba Buena Center for the Arts.)\u003c/p>\n\u003cp>It is also widely known that the longtime program directors – Kevin B. Chen, Sean San José, and Rebeka Rodriquez, each involved with the organization for more than a decade – were not included in conversations about the precariousness of the situation. They were only informed that their programs were being suspended about two weeks before the situation was made public. In a conversation for this article, Widmer said that the program directors were informed as soon as the board was made aware of the financial difficulties. Despite hosting a modestly successful fundraiser in April, one month before the organization ran aground, there was no appeal to the community until now.\u003c/p>\n\u003cp>Given the compressed timeline of recent events, it would seem that the present situation is due to the board’s failure to understand the cost of their own delays and how they might impact finances. By failing to hire an executive director — no formal search was ever announced, though according to Widmer, informal conversations had begun in April — the organization was precluded from applying for essential foundation grants that have been reliable cash infusions in the past. (Many will not grant to organizations with interim leadership, for fairly obvious reasons.) It was only clear that the situation was dire by the time it was too late to make public appeals for support. Though it remains touch and go, there is a glimmer of hope being stewarded by the former program directors.\u003c/p>\n\u003cfigure id=\"attachment_10139287\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection4.jpg\" alt=\"Exhibition installation detail: Here Be Dragons, October 2011 - January 2012, featuring Wendy McNaughton, Intersection for the Arts.\" width=\"640\" height=\"960\" class=\"size-full wp-image-10139287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection4-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection4-200x300.jpg 200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition installation detail: \u003cb>Here Be Dragons\u003c/b>, October 2011 – January 2012, featuring Wendy McNaughton, Intersection for the Arts.\u003c/figcaption>\u003c/figure>\n\u003cp>Even as Chen, San José, and Rodriguez are volunteering their time in an attempt to salvage Intersection’s core values, they will not return to their former roles. Each has decided to move on once the organization is stabilized, but they firmly believe that the return of Intersection is imperative. They are the ones who have spearheaded the transition and have been successful at securing $25K in stabilization funds from the city; a significant coalition of local funders is also being brought into the conversation. There is still a lot of work ahead, and securing new leadership is critical, but many believe it can be done. Simply because it has been done before.\u003c/p>\n\u003cp>Throughout the evening, a few people cited Intersection’s origins in the mid-1960s as a space for artists to gather – highly unusual for the time – and as a community center for conscientious objectors to the American War in Vietnam. The organization has \u003cem>always \u003c/em>been engaged in struggle. It only exists now because it has been championed by the community historically.\u003c/p>\n\u003cp>Calling all “public individuals manifesting power.” It’s time to pay it forward.\u003c/p>\n\u003cp>“Intersection has had many chapters,” Kevin Chen said in conversation. “Before this chapter, Intersection died in a very similar fashion in the ’90s after slashing all but its literary program. Ultimately, it was a group of inspired people who revived it. The same thing can happen again. There are other chapters to be written.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Intersection for the Arts will host a second community meeting on August 19, 2014. For \u003ca href=\"http://theintersection.org/\">more information\u003c/a>, visit theintersection.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the nearly two months since San Francisco’s oldest nonprofit artists’ space Intersection for the Arts \u003ca href=\"http://ww2.kqed.org/arts/2014/05/22/san-franciscos-intersection-for-the-arts-suspends-programs-lays-off-curators/\">announced a “reorganization,”\u003c/a> suspended programming and laid off key staff, there has been a lot of talk about the fate of the organization and what it represents for the future of the city’s culture. But these conversations have happened in private circles or online in social media. This last Tuesday, July 15, Intersection hosted a community meeting to discuss its future with the public.\u003c/p>\n\u003cp>It was a packed house. Indeed, it was one of the most robustly attended, culturally diverse events I’ve seen in the city. Stakeholders of every ilk were represented in this gathering of some 150 people, including members, artists, students, elders, curators, writers, nonprofit leaders, philanthropists, and city employees. Attendance was further enriched by the range of cultural interests, including performance, community arts, visual arts, music, literature, and social justice\u003c/p>\n\u003cp>In this sense, the evening was a pure reflection of what Intersection has always done best: create community at the intersection of different cultures. Looking around at the many brilliant figures and arts leaders in the room, it seemed that anything was possible.\u003c/p>\n\u003cfigure id=\"attachment_10139285\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection2.jpg\" alt=\"Exhibition installation detail: Here Be Dragons, October 2011 - January 2012, featuring work by Val Britton and Tucker Nichols, Intersection for the Arts.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10139285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection2-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition installation detail: \u003cb>Here Be Dragons\u003c/b>, October 2011 – January 2012, featuring work by Val Britton and Tucker Nichols, Intersection for the Arts.\u003c/figcaption>\u003c/figure>\n\u003cp>The meeting was led by a transition team of volunteers, including board members, the former program directors, and former Executive Director Deborah Cullinan, among others. After a brief set of introductions, five breakout groups were organized to gather feedback about the future, based on programming themes of “visual arts,” “performance,” “community engagement,” “shared spaces and new models,” and “fundraising.” The message from the outset was that the community would have the opportunity to shape the future. Though forward thinking, many were bewildered by the absence of a statement about what brought Intersection to its current state.\u003c/p>\n\u003cp>I floated between several of the groups. In each I heard shared concerns about maintaining the core values of the organization, prioritizing artists and work related to social justice. Whether or not the organization needed a dedicated space was also a consideration, with good arguments in favor of both dedicated space and nomadic programming. Partnerships with different organizations were also discussed. There was talk about the struggle to raise money and how the funding system for nonprofits has evolved in the last ten years. (My favorite comment came from a woman who said that we all need to be “pimps” in this business: Public Individuals Manifesting Power.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In another session someone asked, after one person suggested curtailing programs, “I am not sure what we are doing here. Are we trying to rebuild or are we scratching things off?” Likening the lack of information around the reorganization to the collapse of the Bay Bridge, she asked, “Why did this bridge fall down?”\u003c/p>\n\u003cp>Questions about the state of affairs and accountability were asked quietly and repeatedly, though most were reluctant to ask directly. In all fairness, it was difficult to know whom to ask. The present Interim Executive Director Randy Rollison made no statement and is not participating in the transition team. The board members are essentially the last ones standing, but there wasn’t an obvious sense of any one of them taking the lead.\u003c/p>\n\u003cfigure id=\"attachment_10139286\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection3.jpg\" alt=\"Exhibition installation detail: Here Be Dragons, October 2011 - January 2012, featuring work by Wendy McNaughton, Lordy Rodriguez, and Tucker Nichols, Intersection for the Arts.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10139286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection3-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection3-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition installation detail: \u003cb>Here Be Dragons\u003c/b>, October 2011 – January 2012, featuring work by Wendy McNaughton, Lordy Rodriguez, and Tucker Nichols, Intersection for the Arts.\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, following the breakout groups, Board President Yancy Widmer addressed persistent questions about the organization’s difficulties. The challenges, he said, could be attributed to a “perfect storm.” He summarily cited a lack of unrestricted income, the absence of a significant reserve, the executive director’s leadership transition, as well as anticipated funds and community contributions that didn’t come through this year. “The board spent a lot of time trying to figure out the complexity of the situation and took too long,” he said. (So it would seem, given that Cullinan left in September 2013 after giving three months notice to transition to her new role as executive director at Yerba Buena Center for the Arts.)\u003c/p>\n\u003cp>It is also widely known that the longtime program directors – Kevin B. Chen, Sean San José, and Rebeka Rodriquez, each involved with the organization for more than a decade – were not included in conversations about the precariousness of the situation. They were only informed that their programs were being suspended about two weeks before the situation was made public. In a conversation for this article, Widmer said that the program directors were informed as soon as the board was made aware of the financial difficulties. Despite hosting a modestly successful fundraiser in April, one month before the organization ran aground, there was no appeal to the community until now.\u003c/p>\n\u003cp>Given the compressed timeline of recent events, it would seem that the present situation is due to the board’s failure to understand the cost of their own delays and how they might impact finances. By failing to hire an executive director — no formal search was ever announced, though according to Widmer, informal conversations had begun in April — the organization was precluded from applying for essential foundation grants that have been reliable cash infusions in the past. (Many will not grant to organizations with interim leadership, for fairly obvious reasons.) It was only clear that the situation was dire by the time it was too late to make public appeals for support. Though it remains touch and go, there is a glimmer of hope being stewarded by the former program directors.\u003c/p>\n\u003cfigure id=\"attachment_10139287\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection4.jpg\" alt=\"Exhibition installation detail: Here Be Dragons, October 2011 - January 2012, featuring Wendy McNaughton, Intersection for the Arts.\" width=\"640\" height=\"960\" class=\"size-full wp-image-10139287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection4-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection4-200x300.jpg 200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition installation detail: \u003cb>Here Be Dragons\u003c/b>, October 2011 – January 2012, featuring Wendy McNaughton, Intersection for the Arts.\u003c/figcaption>\u003c/figure>\n\u003cp>Even as Chen, San José, and Rodriguez are volunteering their time in an attempt to salvage Intersection’s core values, they will not return to their former roles. Each has decided to move on once the organization is stabilized, but they firmly believe that the return of Intersection is imperative. They are the ones who have spearheaded the transition and have been successful at securing $25K in stabilization funds from the city; a significant coalition of local funders is also being brought into the conversation. There is still a lot of work ahead, and securing new leadership is critical, but many believe it can be done. Simply because it has been done before.\u003c/p>\n\u003cp>Throughout the evening, a few people cited Intersection’s origins in the mid-1960s as a space for artists to gather – highly unusual for the time – and as a community center for conscientious objectors to the American War in Vietnam. The organization has \u003cem>always \u003c/em>been engaged in struggle. It only exists now because it has been championed by the community historically.\u003c/p>\n\u003cp>Calling all “public individuals manifesting power.” It’s time to pay it forward.\u003c/p>\n\u003cp>“Intersection has had many chapters,” Kevin Chen said in conversation. “Before this chapter, Intersection died in a very similar fashion in the ’90s after slashing all but its literary program. Ultimately, it was a group of inspired people who revived it. The same thing can happen again. There are other chapters to be written.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Intersection for the Arts will host a second community meeting on August 19, 2014. For \u003ca href=\"http://theintersection.org/\">more information\u003c/a>, visit theintersection.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Here's to the Ladies Who Lunch: Elaine Stritch Dead at 89",
"headTitle": "Here’s to the Ladies Who Lunch: Elaine Stritch Dead at 89 | KQED",
"content": "\u003cp>The \u003ca href=\"http://mobile.nytimes.com/2014/07/18/theater/elaine-stritch-tart-tongued-broadway-actress-and-singer-is-dead-at-89.html\" target=\"_blank\" rel=\"noopener\">\u003ci>New York Times\u003c/i> reports\u003c/a> that Elaine Stritch, “the brassy, tart-tongued Broadway actress and singer who became a living emblem of show business durability” died in her Michigan home today. She was 89.\u003c/p>\n\u003cp>Stritch was famous for her interpretations of Stephen Sondheim, but may be better known to some as Jack Donaghy’s mother, Colleen, on the NBC sitcom \u003ci>30 Rock\u003c/i>. \u003c/p>\n\u003cp>http://youtu.be/uqmz10zonAU\u003c/p>\n\u003cp>Baldwin produced a documentary about Stritch last year that documented the star’s long career as well as captured her bawdy sense of humor and famously smart mouth. In this trailer for the film she tells John Turturro, “I did \u003ci>Virginia Woolfe\u003c/i> on Broadway and for the first time in my life I had an orgasm.”\u003c/p>\n\u003cp>http://youtu.be/zQysjiUA68U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can hear Baldwin and Stritch’s obvious affection for one another in a May 2013 interview for Baldwin’s show, \u003ci>Here’s the Thing\u003c/i>. It’s also interesting to hear the star, famous for her career longevity, talk about retiring to Michigan and letting go of show business. \u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Alec Baldwin’s May 2013 \u003ci>Here’s the Thing\u003c/i> interview with Stritch: \u003c/h4>\n\u003cp>http://www.podtrac.com/pts/redirect.mp3/audio.wnyc.org/heresthethingpod_no_aw/heresthethingpod051313_estritch_pod.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://mobile.nytimes.com/2014/07/18/theater/elaine-stritch-tart-tongued-broadway-actress-and-singer-is-dead-at-89.html\" target=\"_blank\" rel=\"noopener\">\u003ci>New York Times\u003c/i> reports\u003c/a> that Elaine Stritch, “the brassy, tart-tongued Broadway actress and singer who became a living emblem of show business durability” died in her Michigan home today. She was 89.\u003c/p>\n\u003cp>Stritch was famous for her interpretations of Stephen Sondheim, but may be better known to some as Jack Donaghy’s mother, Colleen, on the NBC sitcom \u003ci>30 Rock\u003c/i>. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uqmz10zonAU'\n title='//www.youtube.com/embed/uqmz10zonAU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Baldwin produced a documentary about Stritch last year that documented the star’s long career as well as captured her bawdy sense of humor and famously smart mouth. In this trailer for the film she tells John Turturro, “I did \u003ci>Virginia Woolfe\u003c/i> on Broadway and for the first time in my life I had an orgasm.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zQysjiUA68U'\n title='//www.youtube.com/embed/zQysjiUA68U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can hear Baldwin and Stritch’s obvious affection for one another in a May 2013 interview for Baldwin’s show, \u003ci>Here’s the Thing\u003c/i>. It’s also interesting to hear the star, famous for her career longevity, talk about retiring to Michigan and letting go of show business. \u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Alec Baldwin’s May 2013 \u003ci>Here’s the Thing\u003c/i> interview with Stritch: \u003c/h4>\n\u003cp>http://www.podtrac.com/pts/redirect.mp3/audio.wnyc.org/heresthethingpod_no_aw/heresthethingpod051313_estritch_pod.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Elaine Stritch — one of Broadway’s boldest and brassiest performers — has died. With that gravelly voice — and those long legs — and that utter command of the stage, Stritch was a bona fide Broadway star. Not as a classic leading lady, necessarily, but as the hardened-yet-vulnerable performer audiences couldn’t forget. Stritch died of natural causes Thursday morning at her home in Birmingham, Mich. She was 89.\u003c/p>\n\u003cp>In \u003ca href=\"http://www.npr.org/2014/03/01/280715944/elaine-stritch-volatile-and-vulnerable-in-shoot-me\" target=\"_blank\" rel=\"noopener\">an interview with Stritch\u003c/a> in March 2014, NPR’s Scott Simon observed that the stage and screen legend “may be her own greatest character.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Stritch’s interview on \u003ci>Weekend Edition\u003c/i> back in March: \u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/wesat/2014/03/20140301_wesat_elaine_stritch_volatile_and_vulnerable_in_shoot_me.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cfigure id=\"attachment_10139241\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap5501010929_custom-d76a7bd75fab7a20dfd3ae2232640f94bd8d36fd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap5501010929_custom-d76a7bd75fab7a20dfd3ae2232640f94bd8d36fd.jpg\" alt=\"Stritch first appeared on Broadway in 1944 -- and was still performing occasionally even at age 89. She is pictured above in 1955\" width=\"200\" height=\"255\" class=\"size-full wp-image-10139241\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stritch first appeared on Broadway in 1944 — and was still performing occasionally even at age 89. She is pictured above in 1955\u003c/figcaption>\u003c/figure>\n\u003cp>In a career that stretched back to the 1940s, Stritch did it all: theater, TV, movies. She was nominated for several Tony Awards and won three Emmys. She starred in the 1961 Noel Coward musical \u003cem>Sail Away\u003c/em>\u003cem> \u003c/em>and the 1970 Stephen Sondheim musical \u003cem>Company.\u003c/em> (With her performance of \u003ca href=\"http://youtu.be/virv-1o2KjE?t=7s\" target=\"_blank\" rel=\"noopener\">“Ladies Who Lunch,”\u003c/a> Sondheim said Stritch turned what he thought was “just a simple saloon song” into a “piece of theater.”\u003c/p>\n\u003cp>Stritch was born in Detroit, where her father was a rubber company executive. She was raised Roman Catholic and when she first moved to New York City, she went to a finishing school at the Convent of the Sacred Heart. Years later, Broadway producer Hal Prince said Stritch had “the guts of a jailbird” but “the convent girl is still there.”\u003c/p>\n\u003cp>It’s been said that Stritch could always play older than she really was. She was 20 when she sang Zip in \u003cem>Pal Joey\u003c/em> but Stritch herself said she looked 40. She had a terrific sense of humor about her looks — and her age. In 1988, Stritch told NPR’s Susan Stamberg that she didn’t mind the word “aging” at all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It applies to everyone,” she said. “I saw a kid 16 on the street and he was aging. We’re all aging but somehow the press loves to say it when you’re over 40.”\u003c/p>\n\u003cfigure id=\"attachment_10139242\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap541122042_enl-ead9878c3997a67b93b92eeb8596a008803656d7-e1405642663572.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap541122042_enl-ead9878c3997a67b93b92eeb8596a008803656d7-1153x1440.jpg\" alt=\"Stritch blows up balloons as a voice training exercise in November 1954.\" width=\"640\" height=\"799\" class=\"size-large wp-image-10139242\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stritch blows up balloons as a voice training exercise in November 1954.\u003c/figcaption>\u003c/figure>\n\u003cp>Stritch was candid about everything — her age, her alcoholism, her diabetes. In her book \u003cem>Am I Blue?: Living with Diabetes and, Dammit, Having Fun!,\u003c/em> she wrote about being diagnosed with the disease at the peak of her career.\u003c/p>\n\u003cp>“More than with any other condition I know of,” she wrote, “the diabetic simply has to understand the nature of the illness and become intimately involved in treating it.” But with her trademark wit she also said: “Diabetes is great because I can say ‘My blood sugar is off. I have to go.'”\u003c/p>\n\u003cp>In 2002, when she was in her late 70s, she launched a Tony Award-winning, one-woman show called \u003cem>Elaine Stritch at the Liberty. \u003c/em>She continued performing well into her 80s. In 2008 Stritch won an Emmy — her third — for her role as character Jack Donaghy’s mother on NBC’s \u003cem>30 Rock\u003c/em>.\u003c/p>\n\u003cp>Stritch once said, “I just pray that I can be at least amusing.” \u003c/p>\n\u003cp>And was she ever. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>KQED’s own \u003ca href=\"http://ww2.kqed.org/arts/author/marktaylor-2/\" target=\"_blank\" rel=\"noopener\">Mark Taylor\u003c/a> first wrote about Stritch’s passing this morning. \u003ca href=\"http://ww2.kqed.org/arts/2014/07/17/heres-to-the-ladies-who-lunch-elaine-stritch-dead-at-89/\" target=\"_blank\" rel=\"noopener\"> Read his article\u003c/a> for more video and anecdotes.\u003c/i>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Actress+Elaine+Stritch%2C+%27Her+Own+Greatest+Character%2C%27+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Elaine Stritch — one of Broadway’s boldest and brassiest performers — has died. With that gravelly voice — and those long legs — and that utter command of the stage, Stritch was a bona fide Broadway star. Not as a classic leading lady, necessarily, but as the hardened-yet-vulnerable performer audiences couldn’t forget. Stritch died of natural causes Thursday morning at her home in Birmingham, Mich. She was 89.\u003c/p>\n\u003cp>In \u003ca href=\"http://www.npr.org/2014/03/01/280715944/elaine-stritch-volatile-and-vulnerable-in-shoot-me\" target=\"_blank\" rel=\"noopener\">an interview with Stritch\u003c/a> in March 2014, NPR’s Scott Simon observed that the stage and screen legend “may be her own greatest character.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Stritch’s interview on \u003ci>Weekend Edition\u003c/i> back in March: \u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/wesat/2014/03/20140301_wesat_elaine_stritch_volatile_and_vulnerable_in_shoot_me.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cfigure id=\"attachment_10139241\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap5501010929_custom-d76a7bd75fab7a20dfd3ae2232640f94bd8d36fd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap5501010929_custom-d76a7bd75fab7a20dfd3ae2232640f94bd8d36fd.jpg\" alt=\"Stritch first appeared on Broadway in 1944 -- and was still performing occasionally even at age 89. She is pictured above in 1955\" width=\"200\" height=\"255\" class=\"size-full wp-image-10139241\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stritch first appeared on Broadway in 1944 — and was still performing occasionally even at age 89. She is pictured above in 1955\u003c/figcaption>\u003c/figure>\n\u003cp>In a career that stretched back to the 1940s, Stritch did it all: theater, TV, movies. She was nominated for several Tony Awards and won three Emmys. She starred in the 1961 Noel Coward musical \u003cem>Sail Away\u003c/em>\u003cem> \u003c/em>and the 1970 Stephen Sondheim musical \u003cem>Company.\u003c/em> (With her performance of \u003ca href=\"http://youtu.be/virv-1o2KjE?t=7s\" target=\"_blank\" rel=\"noopener\">“Ladies Who Lunch,”\u003c/a> Sondheim said Stritch turned what he thought was “just a simple saloon song” into a “piece of theater.”\u003c/p>\n\u003cp>Stritch was born in Detroit, where her father was a rubber company executive. She was raised Roman Catholic and when she first moved to New York City, she went to a finishing school at the Convent of the Sacred Heart. Years later, Broadway producer Hal Prince said Stritch had “the guts of a jailbird” but “the convent girl is still there.”\u003c/p>\n\u003cp>It’s been said that Stritch could always play older than she really was. She was 20 when she sang Zip in \u003cem>Pal Joey\u003c/em> but Stritch herself said she looked 40. She had a terrific sense of humor about her looks — and her age. In 1988, Stritch told NPR’s Susan Stamberg that she didn’t mind the word “aging” at all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It applies to everyone,” she said. “I saw a kid 16 on the street and he was aging. We’re all aging but somehow the press loves to say it when you’re over 40.”\u003c/p>\n\u003cfigure id=\"attachment_10139242\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap541122042_enl-ead9878c3997a67b93b92eeb8596a008803656d7-e1405642663572.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap541122042_enl-ead9878c3997a67b93b92eeb8596a008803656d7-1153x1440.jpg\" alt=\"Stritch blows up balloons as a voice training exercise in November 1954.\" width=\"640\" height=\"799\" class=\"size-large wp-image-10139242\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stritch blows up balloons as a voice training exercise in November 1954.\u003c/figcaption>\u003c/figure>\n\u003cp>Stritch was candid about everything — her age, her alcoholism, her diabetes. In her book \u003cem>Am I Blue?: Living with Diabetes and, Dammit, Having Fun!,\u003c/em> she wrote about being diagnosed with the disease at the peak of her career.\u003c/p>\n\u003cp>“More than with any other condition I know of,” she wrote, “the diabetic simply has to understand the nature of the illness and become intimately involved in treating it.” But with her trademark wit she also said: “Diabetes is great because I can say ‘My blood sugar is off. I have to go.'”\u003c/p>\n\u003cp>In 2002, when she was in her late 70s, she launched a Tony Award-winning, one-woman show called \u003cem>Elaine Stritch at the Liberty. \u003c/em>She continued performing well into her 80s. In 2008 Stritch won an Emmy — her third — for her role as character Jack Donaghy’s mother on NBC’s \u003cem>30 Rock\u003c/em>.\u003c/p>\n\u003cp>Stritch once said, “I just pray that I can be at least amusing.” \u003c/p>\n\u003cp>And was she ever. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>KQED’s own \u003ca href=\"http://ww2.kqed.org/arts/author/marktaylor-2/\" target=\"_blank\" rel=\"noopener\">Mark Taylor\u003c/a> first wrote about Stritch’s passing this morning. \u003ca href=\"http://ww2.kqed.org/arts/2014/07/17/heres-to-the-ladies-who-lunch-elaine-stritch-dead-at-89/\" target=\"_blank\" rel=\"noopener\"> Read his article\u003c/a> for more video and anecdotes.\u003c/i>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Actress+Elaine+Stritch%2C+%27Her+Own+Greatest+Character%2C%27+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv>\u003c/div>\n\u003cp>California’s water bureaucracy has approved penalties against the hydro-criminals among us who do things like wash down sidewalks and dump too much water on our lawns. Penalties could be as much as $500 per offense. It remains to be seen how the scores and score of water agencies that \u003ca href=\"http://ww2.kqed.org/news/2014/07/16/lady-gaga-california-water-conservation\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/07/16/lady-gaga-california-water-conservation\" target=\"_self\" title=\"Lady Gaga: California Water-Conservation Cheerleader\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv>\u003c/div>\n\u003cp>California’s water bureaucracy has approved penalties against the hydro-criminals among us who do things like wash down sidewalks and dump too much water on our lawns. Penalties could be as much as $500 per offense. It remains to be seen how the scores and score of water agencies that \u003ca href=\"http://ww2.kqed.org/news/2014/07/16/lady-gaga-california-water-conservation\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/07/16/lady-gaga-california-water-conservation\" target=\"_self\" title=\"Lady Gaga: California Water-Conservation Cheerleader\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>The California Report’s Grace Rubenstein reveals how a new San Francisco company is helping creative people turn art lovers’ affection into cash.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/07/2014-07-11d-tcrmag.mp3\u003c/p>\n\u003c/aside>\n\u003cp>Artists who publish their work on the Internet might hit it big and find millions of fans. But in a world where online content has become virtually free, fame doesn’t necessarily come with fortune anymore.\u003c/p>\n\u003cp>Now, one San Francisco company — \u003ca href=\"http://www.patreon.com/\" target=\"_blank\" rel=\"noopener\">Patreon\u003c/a> — is making it easier for fans to financially support working artists.\u003c/p>\n\u003cp>Musician and music video producer Jack Conte founded Patreon last year with his friend Sam Yam, a former roommate at Stanford University.\u003c/p>\n\u003cp>“I had been working on this music video for three months straight,” Conte recalls. “I drained my savings account, it was like 10 grand, and I just watched that slowly whittle away.”\u003c/p>\n\u003cp>Back then, Conte had around 100,000 subscribers on his YouTube channel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I knew I was going to post this video, and I knew it was going to generate a hundred to 200 dollars of ad revenue for me,” he says. “And I knew at the same time that my fans were going to really like it. And I thought that was worth more than $100.”\u003c/p>\n\u003cfigure id=\"attachment_10138984\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138984\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon3.jpg\" alt=\"Patreon's engineering and product departments have taken over the living room of the company cofounders' Noe Valley apartment\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Patreon’s engineering and product departments have taken over the living room of the company cofounders’ Noe Valley apartment \u003ccite>(Grace Rubenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So Conte and Yam hatched a website plan. Fans on Patreon could enter their credit card numbers and pledge a few bucks every time Conte published a new video. Unlike Kickstarter, where people chip in for a one-time project, this would be ongoing support for continued work. It’s essentially patronage, only crowdfunded.\u003c/p>\n\u003cp>Yam designed and coded the site, which launched in May 2013. “Within a few hours I passed over $1,000 per video that I uploaded,” Conte says. “So I was making over 10 times what I was making on YouTube. In like 4 hours!”\u003c/p>\n\u003cp>Soon creators and patrons were flocking to the site. Now, he says, Patreon plays host to 85,000 paying patrons and more than 25,000 creators ranging from musicians to web comic illustrators to short story writers. The company takes a 5 percent cut. And it just got $15 million dollars in venture capital.\u003c/p>\n\u003cp>Conte thinks all the enthusiasm reflects a problem that the Internet sort of created, by driving down the value of creative content. “Media these days is free,” he says. “That’s not an opinion at this point. It’s a fact.”\u003c/p>\n\u003cp>Yet he feels really strongly that creative people deserve fair pay. “We need to look at other income streams for people, and I think patronage is where it’s going,” he says.\u003c/p>\n\u003cp>The content that’s funded through Patreon is free for the world to see. But creators give their patrons little perks, like live chats or behind-the-scenes photos. Some of them are making serious money. Conte’s band, Pomplamoose, gets more than $5,000 dollars per video.\u003c/p>\n\u003cp>Still, most creators have more modest audiences and incomes.\u003c/p>\n\u003cfigure id=\"attachment_10138983\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138983\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon2.jpg\" alt=\"Kiki Sanford records her "This Week in Science" podcast from her basement in San Francisco's Bernal Heights neighborhood, and funds it via Patreon.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2-300x225.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kiki Sanford records her “This Week in Science” podcast from her basement in San Francisco’s Bernal Heights neighborhood, and funds it via Patreon. \u003ccite>(Grace Rubenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kiki Sanford is a neurophysiology PhD who publishes her “This Week in Science” podcast out of her basement in San Francisco. Sanford has been broadcasting for more than a decade, and she’s built an audience of around 10,000. She joined Patreon four months ago.\u003c/p>\n\u003cp>“We went from covering our basic costs with $200 to $300 in Paypal donations per month, to now almost bringing in $2,000 a month with Patreon,” she says.\u003c/p>\n\u003cp>Now she’s hoping to realize some long-held dreams, like creating daily content. That is, if the support holds up.\u003c/p>\n\u003cp>“It’s humbling and amazing to me,” Sanford says. “But at the same time I go, can I count on this? Is this something that people are going to really keep doing?”\u003c/p>\n\u003cp>John Maeda says Sanford’s right to be cautious. He’s the former president of the Rhode Island School of Design and now the design partner at Kleiner Perkins Caufield & Byers venture capital in Silicon Valley.\u003c/p>\n\u003cp>“We believe that there’s infinite money in the crowd. You know, ‘crowdsource’ this, ‘crowdfund’ this,” he says. “The crowd gets tired, the crowd gets poorer.”\u003c/p>\n\u003cp>So while Maeda likes the idea of crowdfunding the arts, he says it’s too soon to say if Patreon’s model will have staying power.\u003c/p>\n\u003cp>Patreon does have limitations. First off, it won’t necessarily get you fans if you don’t already have them. And there’s no guarantee of artistic quality, since the site is open to everyone. But that’s the way Conte likes it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Our mission is to fund the creative class,” he says. “If Lady Gaga wanted to use the platform, fine. But that’s not who we’re building products for.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>The California Report’s Grace Rubenstein reveals how a new San Francisco company is helping creative people turn art lovers’ affection into cash.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/07/2014-07-11d-tcrmag.mp3\u003c/p>\n\u003c/aside>\n\u003cp>Artists who publish their work on the Internet might hit it big and find millions of fans. But in a world where online content has become virtually free, fame doesn’t necessarily come with fortune anymore.\u003c/p>\n\u003cp>Now, one San Francisco company — \u003ca href=\"http://www.patreon.com/\" target=\"_blank\" rel=\"noopener\">Patreon\u003c/a> — is making it easier for fans to financially support working artists.\u003c/p>\n\u003cp>Musician and music video producer Jack Conte founded Patreon last year with his friend Sam Yam, a former roommate at Stanford University.\u003c/p>\n\u003cp>“I had been working on this music video for three months straight,” Conte recalls. “I drained my savings account, it was like 10 grand, and I just watched that slowly whittle away.”\u003c/p>\n\u003cp>Back then, Conte had around 100,000 subscribers on his YouTube channel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I knew I was going to post this video, and I knew it was going to generate a hundred to 200 dollars of ad revenue for me,” he says. “And I knew at the same time that my fans were going to really like it. And I thought that was worth more than $100.”\u003c/p>\n\u003cfigure id=\"attachment_10138984\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138984\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon3.jpg\" alt=\"Patreon's engineering and product departments have taken over the living room of the company cofounders' Noe Valley apartment\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Patreon’s engineering and product departments have taken over the living room of the company cofounders’ Noe Valley apartment \u003ccite>(Grace Rubenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So Conte and Yam hatched a website plan. Fans on Patreon could enter their credit card numbers and pledge a few bucks every time Conte published a new video. Unlike Kickstarter, where people chip in for a one-time project, this would be ongoing support for continued work. It’s essentially patronage, only crowdfunded.\u003c/p>\n\u003cp>Yam designed and coded the site, which launched in May 2013. “Within a few hours I passed over $1,000 per video that I uploaded,” Conte says. “So I was making over 10 times what I was making on YouTube. In like 4 hours!”\u003c/p>\n\u003cp>Soon creators and patrons were flocking to the site. Now, he says, Patreon plays host to 85,000 paying patrons and more than 25,000 creators ranging from musicians to web comic illustrators to short story writers. The company takes a 5 percent cut. And it just got $15 million dollars in venture capital.\u003c/p>\n\u003cp>Conte thinks all the enthusiasm reflects a problem that the Internet sort of created, by driving down the value of creative content. “Media these days is free,” he says. “That’s not an opinion at this point. It’s a fact.”\u003c/p>\n\u003cp>Yet he feels really strongly that creative people deserve fair pay. “We need to look at other income streams for people, and I think patronage is where it’s going,” he says.\u003c/p>\n\u003cp>The content that’s funded through Patreon is free for the world to see. But creators give their patrons little perks, like live chats or behind-the-scenes photos. Some of them are making serious money. Conte’s band, Pomplamoose, gets more than $5,000 dollars per video.\u003c/p>\n\u003cp>Still, most creators have more modest audiences and incomes.\u003c/p>\n\u003cfigure id=\"attachment_10138983\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138983\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon2.jpg\" alt=\"Kiki Sanford records her "This Week in Science" podcast from her basement in San Francisco's Bernal Heights neighborhood, and funds it via Patreon.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2-300x225.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kiki Sanford records her “This Week in Science” podcast from her basement in San Francisco’s Bernal Heights neighborhood, and funds it via Patreon. \u003ccite>(Grace Rubenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kiki Sanford is a neurophysiology PhD who publishes her “This Week in Science” podcast out of her basement in San Francisco. Sanford has been broadcasting for more than a decade, and she’s built an audience of around 10,000. She joined Patreon four months ago.\u003c/p>\n\u003cp>“We went from covering our basic costs with $200 to $300 in Paypal donations per month, to now almost bringing in $2,000 a month with Patreon,” she says.\u003c/p>\n\u003cp>Now she’s hoping to realize some long-held dreams, like creating daily content. That is, if the support holds up.\u003c/p>\n\u003cp>“It’s humbling and amazing to me,” Sanford says. “But at the same time I go, can I count on this? Is this something that people are going to really keep doing?”\u003c/p>\n\u003cp>John Maeda says Sanford’s right to be cautious. He’s the former president of the Rhode Island School of Design and now the design partner at Kleiner Perkins Caufield & Byers venture capital in Silicon Valley.\u003c/p>\n\u003cp>“We believe that there’s infinite money in the crowd. 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"title": "Remembering Jazz Legend Charlie Haden, who Crafted his Voice in Bass",
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"content": "\u003cp>\u003cem>Jazz legend Charlie Haden has died. Polio damaged Haden’s voice when he was young, but as a bassist and composer, Haden helped shape the sound of jazz and still spanned country and gospel. For more on Haden’s life and music, you can hear Melissa Block speak with \u003c/em>Slate\u003cem> columnist and jazz critic Fred Kaplan at the audio link on this page.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Bassist and composer Charlie Haden, whose resonant playing and penetrating melodic craft influenced generations of jazz musicians, died this morning in Los Angeles, after a prolonged illness. He was 76.\u003c/p>\n\u003cp>Haden’s death was announced by his record label, ECM Records.\u003c/p>\n\u003cblockquote>\n\u003cp>It is with deep sorrow that we announce that Charlie Haden, born August 6, 1937 in Shenandoah, Iowa, passed away today at 10:11 Pacific time in Los Angeles after a prolonged illness. Ruth Cameron, his wife of 30 years, and his children Josh Haden, Tanya Haden, Rachel Haden and Petra Haden were all by his side.\u003c/p>\n\u003c/blockquote>\n\u003cp>Born and raised in the rural Midwestern United States, Haden grew up in a family which hosted a country and western music radio program. He sang on air in the family band from before the age of 2. At age 15, he contracted polio, damaging his vocal cords, and turned instead to learning bass.\u003c/p>\n\u003cp>In 1957, Haden moved to Los Angeles, where he integrated quickly into the West Coast jazz community — including saxophonist and composer Ornette Coleman. Their collaboration over decades, on stage and on record, not only anchored Coleman’s innovations in harmony and melody, but also generated new possibilities for his own instrument in group improvisation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His work with Ornette Coleman made him an icon of avant-garde jazz, but in a career that spanned over 50 years, Haden worked in many and varied contexts. His Liberation Music Orchestra large ensemble, a collaboration with composer-arranger Carla Bley, performed and recorded political protest songs for over 30 years. His Quartet West ensemble, featuring pianist Alan Broadbent and saxophonist Ernie Watts, provided avenues for more traditional hard bop and backing vocalists. And in 2008, he revisited his country roots with an album called \u003cem>Rambling Boy\u003c/em>, gathering his wife, son and triplet daughters in a new family band.\u003c/p>\n\u003cp>In 2012, he spoke of the connections between the music he grew up with and the music he was known for. “When you think about the art form jazz coming from this country and you think about the Underground Railroad and all the music that came from that struggle, and then you think about all the music coming over from Scotland and Ireland and England into the Appalachian Mountains and the Ozark Mountains where I was born and raised, you know, it’s all one really,” he told NPR’s Rachel Martin. “We can only have been born here in this country.”\u003c/p>\n\u003cp>As a sideman, Haden was the bassist for many of pianist Keith Jarrett’s bands of the 1960s and ’70s. The group Old and New Dreams reunited Ornette Coleman’s sidemen, sometimes to reinterpret Coleman’s compositions. He frequently performed in duet settings, which brought him into close contact with fellow jazz greats like Hank Jones, Alice Coltrane and Pat Metheny. And in 1982, he introduced jazz studies to CalArts, now one of the premier programs of its kind.\u003c/p>\n\u003cp>In interviews and on stage, he spoke often about the artist’s duty to introduce beauty into a conflicted world. “That’s what I tell my students at California Institute of the Arts where I teach for 27 years,” he said to Martin. “I tell them if you strive to be a good person, maybe you might become a great jazz musician.”\u003c/p>\n\u003cp>Earlier this year, Charlie Haden released his latest album, a collection of duets with pianist Keith Jarrett. It ends with the two standards “Every Time We Say Goodbye” and “Goodbye,” and is titled \u003cem>Last Dance.\u003c/em> \u003c/p>\n\u003cp>\u003cem>Below is a clip of Haden playing in the Ginger Baker Trio with guitarist Bill Frisell.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XEpMLiqzZd8\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Remembering+Jazz+Legend+Charlie+Haden%2C+Who+Crafted+His+Voice+In+Bass&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Jazz legend Charlie Haden has died. Polio damaged Haden’s voice when he was young, but as a bassist and composer, Haden helped shape the sound of jazz and still spanned country and gospel. For more on Haden’s life and music, you can hear Melissa Block speak with \u003c/em>Slate\u003cem> columnist and jazz critic Fred Kaplan at the audio link on this page.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Bassist and composer Charlie Haden, whose resonant playing and penetrating melodic craft influenced generations of jazz musicians, died this morning in Los Angeles, after a prolonged illness. He was 76.\u003c/p>\n\u003cp>Haden’s death was announced by his record label, ECM Records.\u003c/p>\n\u003cblockquote>\n\u003cp>It is with deep sorrow that we announce that Charlie Haden, born August 6, 1937 in Shenandoah, Iowa, passed away today at 10:11 Pacific time in Los Angeles after a prolonged illness. Ruth Cameron, his wife of 30 years, and his children Josh Haden, Tanya Haden, Rachel Haden and Petra Haden were all by his side.\u003c/p>\n\u003c/blockquote>\n\u003cp>Born and raised in the rural Midwestern United States, Haden grew up in a family which hosted a country and western music radio program. He sang on air in the family band from before the age of 2. At age 15, he contracted polio, damaging his vocal cords, and turned instead to learning bass.\u003c/p>\n\u003cp>In 1957, Haden moved to Los Angeles, where he integrated quickly into the West Coast jazz community — including saxophonist and composer Ornette Coleman. Their collaboration over decades, on stage and on record, not only anchored Coleman’s innovations in harmony and melody, but also generated new possibilities for his own instrument in group improvisation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His work with Ornette Coleman made him an icon of avant-garde jazz, but in a career that spanned over 50 years, Haden worked in many and varied contexts. His Liberation Music Orchestra large ensemble, a collaboration with composer-arranger Carla Bley, performed and recorded political protest songs for over 30 years. His Quartet West ensemble, featuring pianist Alan Broadbent and saxophonist Ernie Watts, provided avenues for more traditional hard bop and backing vocalists. And in 2008, he revisited his country roots with an album called \u003cem>Rambling Boy\u003c/em>, gathering his wife, son and triplet daughters in a new family band.\u003c/p>\n\u003cp>In 2012, he spoke of the connections between the music he grew up with and the music he was known for. “When you think about the art form jazz coming from this country and you think about the Underground Railroad and all the music that came from that struggle, and then you think about all the music coming over from Scotland and Ireland and England into the Appalachian Mountains and the Ozark Mountains where I was born and raised, you know, it’s all one really,” he told NPR’s Rachel Martin. “We can only have been born here in this country.”\u003c/p>\n\u003cp>As a sideman, Haden was the bassist for many of pianist Keith Jarrett’s bands of the 1960s and ’70s. The group Old and New Dreams reunited Ornette Coleman’s sidemen, sometimes to reinterpret Coleman’s compositions. He frequently performed in duet settings, which brought him into close contact with fellow jazz greats like Hank Jones, Alice Coltrane and Pat Metheny. And in 1982, he introduced jazz studies to CalArts, now one of the premier programs of its kind.\u003c/p>\n\u003cp>In interviews and on stage, he spoke often about the artist’s duty to introduce beauty into a conflicted world. “That’s what I tell my students at California Institute of the Arts where I teach for 27 years,” he said to Martin. “I tell them if you strive to be a good person, maybe you might become a great jazz musician.”\u003c/p>\n\u003cp>Earlier this year, Charlie Haden released his latest album, a collection of duets with pianist Keith Jarrett. It ends with the two standards “Every Time We Say Goodbye” and “Goodbye,” and is titled \u003cem>Last Dance.\u003c/em> \u003c/p>\n\u003cp>\u003cem>Below is a clip of Haden playing in the Ginger Baker Trio with guitarist Bill Frisell.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XEpMLiqzZd8'\n title='//www.youtube.com/embed/XEpMLiqzZd8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2014 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=Remembering+Jazz+Legend+Charlie+Haden%2C+Who+Crafted+His+Voice+In+Bass&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>By Austin Meyer\u003c/strong>\u003cbr>\u003ca target=\"_self\" href=\"http://peninsulapress.com/2014/07/10/san-francisco-gentrification/\" rel=\"noopener\">\u003cstrong>Peninsula Press\u003c/strong>\u003c/a>\u003c/p>\n\u003cdiv>\n\u003cp>San Francisco resident Benito Santiago, 63, is one of an increasing number of San Francisco seniors who are facing rising rents and eviction. (Austin Meyer/Peninsula Press)\u003c/p>\n\u003c/div>\n\u003cp>San Francisco resident Benito Santiago, 63, lived in his \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/san-francisco-mission-district-artists-evicted-from-longtime-home\" rel=\"noopener\">Mission District\u003c/a> apartment 37 years before getting his <a target=_self \u003ca href=\"http://ww2.kqed.org/news/2014/07/11/priced-out-artist-turned-housing-activist-describes-his-ellis-act-eviction\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/07/11/priced-out-artist-turned-housing-activist-describes-his-ellis-act-eviction\" target=\"_self\" title=\"Priced Out: S.F. Artist Turned Housing Activist Describes His Ellis Act Eviction\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Austin Meyer\u003c/strong>\u003cbr>\u003ca target=\"_self\" href=\"http://peninsulapress.com/2014/07/10/san-francisco-gentrification/\" rel=\"noopener\">\u003cstrong>Peninsula Press\u003c/strong>\u003c/a>\u003c/p>\n\u003cdiv>\n\u003cp>San Francisco resident Benito Santiago, 63, is one of an increasing number of San Francisco seniors who are facing rising rents and eviction. (Austin Meyer/Peninsula Press)\u003c/p>\n\u003c/div>\n\u003cp>San Francisco resident Benito Santiago, 63, lived in his \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/san-francisco-mission-district-artists-evicted-from-longtime-home\" rel=\"noopener\">Mission District\u003c/a> apartment 37 years before getting his <a target=_self \u003ca href=\"http://ww2.kqed.org/news/2014/07/11/priced-out-artist-turned-housing-activist-describes-his-ellis-act-eviction\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/07/11/priced-out-artist-turned-housing-activist-describes-his-ellis-act-eviction\" target=\"_self\" title=\"Priced Out: S.F. Artist Turned Housing Activist Describes His Ellis Act Eviction\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Columbusing': The Art of Discovering Something that is Not New",
"headTitle": "‘Columbusing’: The Art of Discovering Something that is Not New | KQED",
"content": "\u003cp>If you’ve danced to an Afrobeat-heavy pop song, dipped hummus, sipped coconut water, participated in a Desi-inspired \u003ca href=\"http://www.browngirlmagazine.com/2013/04/color-run-controversy\" target=\"_blank\" rel=\"noopener\">color run\u003c/a> or sported a henna tattoo, then you’ve Columbused something.\u003c/p>\n\u003cp>\u003ca href=\"http://www.collegehumor.com/video/6976820/columbusing-discovering-things-for-white-pe\" target=\"_blank\" rel=\"noopener\">Columbusing\u003c/a> is when you “discover” something that’s existed forever. Just that it’s existed outside your own culture, nationality, race or even, say, your neighborhood. Bonus points if you tell all your friends about it.\u003c/p>\n\u003cp>Why not? In our immigrant-rich cities, the whole world is at our doorsteps.\u003c/p>\n\u003cp>Sometimes, though, Columbusing can feel icky. When is cultural appropriation a healthy byproduct of globalization and when is it a problem?\u003c/p>\n\u003cp>\u003cstrong>All The Rage\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Buzzfeed Food published an article asking, “Have you heard about \u003ca href=\"http://www.buzzfeed.com/rachelysanders/hand-pies-are-the-best-and-cutest-pies\" target=\"_blank\" rel=\"noopener\">the new kind of pie\u003c/a> that’s \u003cem>all the rage\u003c/em> lately?” It’s a hand pie, a little foldover pie that you can fit in your hand. They have flaky crusts and can be sweet or savory. You know, exactly like an empanada, a Latin American culinary staple.\u003c/p>\n\u003cp>On face value, it seems stupid to get worked up over an empanada. I mean, it’s just a pastry, right? But “discovering” empanadas on Pinterest and calling them “hand pies” strips empanadas of their cultural context. To all the people who grew up eating empanadas, it can feel like theft.\u003c/p>\n\u003cp>\u003cstrong>Feeling Overlooked\u003c/strong>\u003c/p>\n\u003cp>When it comes to our culinary traditions, Latinos are used to feeling robbed.\u003c/p>\n\u003cp>Latino activists spoke out in May when Chipotle announced plans to print original stories by famous writers on its paper goods and \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/05/24/314865085/why-chipotle-is-accused-of-contributing-to-a-culture-of-invisibility\" target=\"_blank\" rel=\"noopener\">failed to include\u003c/a> any Mexican-Americans or Latinos on the roster. The American-owned chain can profit from Mexican culture while overlooking the harsh reality of how Latinos have been treated in this country.\u003c/p>\n\u003cp>On Cinco de Mayo, chef Anthony Bourdain \u003ca href=\"http://anthonybourdain.tumblr.com/post/84641290831/under-the-volcano\" target=\"_blank\" rel=\"noopener\">asked why Americans love Mexican food\u003c/a>, drugs, alcohol and cheap labor but ignore the violence that happens across the border. “Despite our ridiculously hypocritical attitudes towards immigration,” writes Bourdain, “we demand that Mexicans cook a large percentage of the food we eat, grow the ingredients we need to make that food, clean our houses, mow our lawns, wash our dishes, look after our children.”\u003c/p>\n\u003cp>It’s frustrating when even the staunchest anti-immigration activists \u003ca href=\"http://blogs.ocweekly.com/stickaforkinit/2013/10/tortilla_coast_dc.php\">regularly eat Mexican food\u003c/a>. It seems like a paradox to relish your fajitas while believing the line cook should get deported.\u003c/p>\n\u003cfigure id=\"attachment_10138799\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-1440x1079.jpg\" alt=\"A man sprays colored dye on people dancing during Holi celebrations in India in 2012. Holi, the Hindu festival of colors, also heralds the coming of spring -- a detail that partiers at the Shout Color Throw might miss.\" width=\"640\" height=\"479\" class=\"size-large wp-image-10138799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-1440x1079.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-300x224.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A man sprays colored dye on people dancing during Holi celebrations in India in 2012. Holi, the Hindu festival of colors, also heralds the coming of spring — a detail that partiers at the Shout Color Throw might miss.\u003c/figcaption>\u003c/figure>\n\u003cp>Admittedly, cultural appropriation is an integral and vital part of American history. And one day, empanadas might become as American as pizza (yes, I appreciate the irony of that statement). But the day when Latinos are considered as American as Italian-Americans, well, that feels further away.\u003c/p>\n\u003cp>\u003cstrong>Why It Hurts\u003c/strong>\u003c/p>\n\u003cp>The condolence prize for being an outsider is that you can take solace in the cultural traditions that make you unique. When outsiders use tweezers to pick out the discrete parts of your culture that are worthy of their attention, it feels like a violation. Empanadas are trendy, \u003cem>cumbia\u003c/em> is trendy, but Latinas are still not trendy.\u003c/p>\n\u003cp>Code Switch blogger Gene Demby \u003ca href=\"http://apps.npr.org/codeswitch-changing-races/\">writes\u003c/a>, “It’s much harder now to patrol the ramparts of our cultures, to distinguish between the appreciators and appropriators. Just who gets to play in which cultural sandboxes? Who gets to be the bouncer at the velvet rope?”\u003c/p>\n\u003cp>\u003cstrong>Playing Explorer\u003c/strong>\u003c/p>\n\u003cp>Of course, there is no bouncer, but we can be careful not to Columbus other culture’s traditions. Before you make reservations at the hottest fusion restaurant or book an alternative healing therapy, ask yourself a few questions:\u003c/p>\n\u003cp>Who is providing this good or service for me?\u003c/p>\n\u003cp>Am I engaging with them in a thoughtful manner?\u003c/p>\n\u003cp>Am I learning about this culture?\u003c/p>\n\u003cp>Are people from this culture benefiting from my spending money here?\u003c/p>\n\u003cp>Are they being hurt by my spending money here?\u003c/p>\n\u003cp>It is best to enter a new, ethnic experience with consideration, curiosity and respect. That doesn’t mean you have to act or look the part of a dour-faced anthropologist or an ultra-earnest tourist. You can go outside your comfort zone and learn about the completely different worlds that coexist within your city. If you’re adventurous, you can explore the entire world without leaving the country and without needing a passport.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just remember, it’s great to love a different culture and its artifacts, as long as you love the people too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=%27Columbusing%27%3A+The+Art+Of+Discovering+Something+That+Is+Not+New+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve danced to an Afrobeat-heavy pop song, dipped hummus, sipped coconut water, participated in a Desi-inspired \u003ca href=\"http://www.browngirlmagazine.com/2013/04/color-run-controversy\" target=\"_blank\" rel=\"noopener\">color run\u003c/a> or sported a henna tattoo, then you’ve Columbused something.\u003c/p>\n\u003cp>\u003ca href=\"http://www.collegehumor.com/video/6976820/columbusing-discovering-things-for-white-pe\" target=\"_blank\" rel=\"noopener\">Columbusing\u003c/a> is when you “discover” something that’s existed forever. Just that it’s existed outside your own culture, nationality, race or even, say, your neighborhood. Bonus points if you tell all your friends about it.\u003c/p>\n\u003cp>Why not? In our immigrant-rich cities, the whole world is at our doorsteps.\u003c/p>\n\u003cp>Sometimes, though, Columbusing can feel icky. When is cultural appropriation a healthy byproduct of globalization and when is it a problem?\u003c/p>\n\u003cp>\u003cstrong>All The Rage\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Buzzfeed Food published an article asking, “Have you heard about \u003ca href=\"http://www.buzzfeed.com/rachelysanders/hand-pies-are-the-best-and-cutest-pies\" target=\"_blank\" rel=\"noopener\">the new kind of pie\u003c/a> that’s \u003cem>all the rage\u003c/em> lately?” It’s a hand pie, a little foldover pie that you can fit in your hand. They have flaky crusts and can be sweet or savory. You know, exactly like an empanada, a Latin American culinary staple.\u003c/p>\n\u003cp>On face value, it seems stupid to get worked up over an empanada. I mean, it’s just a pastry, right? But “discovering” empanadas on Pinterest and calling them “hand pies” strips empanadas of their cultural context. To all the people who grew up eating empanadas, it can feel like theft.\u003c/p>\n\u003cp>\u003cstrong>Feeling Overlooked\u003c/strong>\u003c/p>\n\u003cp>When it comes to our culinary traditions, Latinos are used to feeling robbed.\u003c/p>\n\u003cp>Latino activists spoke out in May when Chipotle announced plans to print original stories by famous writers on its paper goods and \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/05/24/314865085/why-chipotle-is-accused-of-contributing-to-a-culture-of-invisibility\" target=\"_blank\" rel=\"noopener\">failed to include\u003c/a> any Mexican-Americans or Latinos on the roster. The American-owned chain can profit from Mexican culture while overlooking the harsh reality of how Latinos have been treated in this country.\u003c/p>\n\u003cp>On Cinco de Mayo, chef Anthony Bourdain \u003ca href=\"http://anthonybourdain.tumblr.com/post/84641290831/under-the-volcano\" target=\"_blank\" rel=\"noopener\">asked why Americans love Mexican food\u003c/a>, drugs, alcohol and cheap labor but ignore the violence that happens across the border. “Despite our ridiculously hypocritical attitudes towards immigration,” writes Bourdain, “we demand that Mexicans cook a large percentage of the food we eat, grow the ingredients we need to make that food, clean our houses, mow our lawns, wash our dishes, look after our children.”\u003c/p>\n\u003cp>It’s frustrating when even the staunchest anti-immigration activists \u003ca href=\"http://blogs.ocweekly.com/stickaforkinit/2013/10/tortilla_coast_dc.php\">regularly eat Mexican food\u003c/a>. It seems like a paradox to relish your fajitas while believing the line cook should get deported.\u003c/p>\n\u003cfigure id=\"attachment_10138799\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-1440x1079.jpg\" alt=\"A man sprays colored dye on people dancing during Holi celebrations in India in 2012. Holi, the Hindu festival of colors, also heralds the coming of spring -- a detail that partiers at the Shout Color Throw might miss.\" width=\"640\" height=\"479\" class=\"size-large wp-image-10138799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-1440x1079.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-300x224.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A man sprays colored dye on people dancing during Holi celebrations in India in 2012. Holi, the Hindu festival of colors, also heralds the coming of spring — a detail that partiers at the Shout Color Throw might miss.\u003c/figcaption>\u003c/figure>\n\u003cp>Admittedly, cultural appropriation is an integral and vital part of American history. And one day, empanadas might become as American as pizza (yes, I appreciate the irony of that statement). But the day when Latinos are considered as American as Italian-Americans, well, that feels further away.\u003c/p>\n\u003cp>\u003cstrong>Why It Hurts\u003c/strong>\u003c/p>\n\u003cp>The condolence prize for being an outsider is that you can take solace in the cultural traditions that make you unique. When outsiders use tweezers to pick out the discrete parts of your culture that are worthy of their attention, it feels like a violation. Empanadas are trendy, \u003cem>cumbia\u003c/em> is trendy, but Latinas are still not trendy.\u003c/p>\n\u003cp>Code Switch blogger Gene Demby \u003ca href=\"http://apps.npr.org/codeswitch-changing-races/\">writes\u003c/a>, “It’s much harder now to patrol the ramparts of our cultures, to distinguish between the appreciators and appropriators. Just who gets to play in which cultural sandboxes? Who gets to be the bouncer at the velvet rope?”\u003c/p>\n\u003cp>\u003cstrong>Playing Explorer\u003c/strong>\u003c/p>\n\u003cp>Of course, there is no bouncer, but we can be careful not to Columbus other culture’s traditions. Before you make reservations at the hottest fusion restaurant or book an alternative healing therapy, ask yourself a few questions:\u003c/p>\n\u003cp>Who is providing this good or service for me?\u003c/p>\n\u003cp>Am I engaging with them in a thoughtful manner?\u003c/p>\n\u003cp>Am I learning about this culture?\u003c/p>\n\u003cp>Are people from this culture benefiting from my spending money here?\u003c/p>\n\u003cp>Are they being hurt by my spending money here?\u003c/p>\n\u003cp>It is best to enter a new, ethnic experience with consideration, curiosity and respect. That doesn’t mean you have to act or look the part of a dour-faced anthropologist or an ultra-earnest tourist. You can go outside your comfort zone and learn about the completely different worlds that coexist within your city. If you’re adventurous, you can explore the entire world without leaving the country and without needing a passport.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just remember, it’s great to love a different culture and its artifacts, as long as you love the people too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=%27Columbusing%27%3A+The+Art+Of+Discovering+Something+That+Is+Not+New+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There was better news than expected last night for arts funding in Richmond.\u003c/p>\n\u003cp>The city council approved a tentative budget that makes cuts to public safety and other services, but provides the same support as last year to the East Bay Center for the Performing Arts and to NIAD — an arts center for the disabled.\u003c/p>\n\u003cp>“We’re definitely going to have a celebration,” said NIAD Executive Director Deb Dyer.\u003c/p>\n\u003cp>Support for the popular Richmond Arts Center was cut by about a quarter — to $275 thousand. But RAC Executive Director Richard Ambrose says that’s a better fate than expected. “We’re hoping that we can tighten our belt a little bit, but not eliminate any programs.”\u003c/p>\n\u003cp>Over the past two weeks, supporters flooded council members with letters and emails backing the center’s programs in the Richmond schools, which serve about 500 kids annually.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And that really is what generated the support from the city to really try to find additional funds for the arts,” Ambrose said this morning. “Particularly our program that we reach out into the community giving kids the opportunity to expand their creative skills.”\u003c/p>\n\u003cp>Ambrose says he will turn to funders to make up the budget shortfall of $100 thousand, about ten percent of the RAC’s annual budget.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ambrose and Dyer say they’re still worried that Richmond may well face a similar deficit next year, and that councilmembers won’t be so generous.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And that really is what generated the support from the city to really try to find additional funds for the arts,” Ambrose said this morning. “Particularly our program that we reach out into the community giving kids the opportunity to expand their creative skills.”\u003c/p>\n\u003cp>Ambrose says he will turn to funders to make up the budget shortfall of $100 thousand, about ten percent of the RAC’s annual budget.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ambrose and Dyer say they’re still worried that Richmond may well face a similar deficit next year, and that councilmembers won’t be so generous.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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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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"masters-of-scale": {
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},
"mindshift": {
"id": "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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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"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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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"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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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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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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},
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