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"content": "\u003cp>Artist Scott Hove, a Bay Area native who has made a name for himself in the art world with his striking, cake-themed sculptures, is packing up his frosting and moving to Los Angeles. Last week Hove shut down \u003ca href=\"http://www.mshove.com/cakeland/index.htm\" target=\"_blank\" rel=\"noopener\">Cakeland,\u003c/a> the Oakland storefront he has both lived and exhibited in since 2009. Word of the closure prompted a mad dash by local art fans to see the beautiful and weird world Hove had built in the days before he shuttered the doors and started packing to move.\u003c/p>\n\u003cp>Like many other local artists and creative types, Hove is being priced out of the Bay Area, somewhat. With his star on the rise, Hove is moving into a warehouse in L.A. (something unaffordable in the Bay Area), where he will expand his Cakeland vision further. The cheap space will allow him to do more \u003ca href=\"http://www.mshove.com/cakeland/index-installations.htm\" target=\"_blank\" rel=\"noopener\">massive installations\u003c/a> and he’ll be in closer proximity to more movers and shakers in the art world.\u003c/p>\n\u003cp>We had a few questions for Hove as he packed up for his big move and his honest, insightful answers are below.\u003c/p>\n\u003cfigure id=\"attachment_10138631\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg\" alt=\"Cake Vault, 2008\" width=\"640\" height=\"677\" class=\"size-full wp-image-10138631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1-400x423.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1-283x300.jpg 283w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scott Hove, \u003ci>Cake Vault\u003c/i>, 2008\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is the story behind the Cakeland space? Did the owners know what you planned to do with the store front? Did they know you’d be living in it?\u003c/strong>\u003c/p>\n\u003cp>I had been looking for a suitable place to live and work for several months, and this 1929 former French laundry building opened up. I didn’t expect to find a place with such a lovely storefront, and quickly went about making window displays that I thought would be fun. The building owner is a very cool guy and trusted me to do something that wouldn’t upset the neighbors!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How many separate pieces make up the space — or is it one large installation? How long have you been working on it? How long did it take to make?\u003c/strong>\u003c/p>\n\u003cp>In the storefront gallery, I have two individual mirror chambers, plus a large mirror maze. There is also a blackened hell pit, which is a favorite aspect for viewers. I have one large wall that features my more conventionally-sized wall hanging sculptures. I have done several versions of Cakeland in the space, and the current configuration has been in place for about a year and a half. I keep working on my installations as long as there is space to keep adding on.\u003c/p>\n\u003cp>\u003cstrong>What is the inspiration for your cake-themed work? Where did the idea for adding the teeth come from? (Is it really about the cakes needing to defend themselves?)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg\" alt=\"Hove-Work\" width=\"640\" height=\"401\" class=\"alignright size-full wp-image-10138630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1-300x187.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>I love captivating the emotions of my viewers, and using the image of cake as a language opens people up to be receptive to the messages in the work, whether that message is mine or the viewer’s. The fangs, horns and switchblades are there to add psychological depth to the viewing experience and force the viewer to choose how to integrate the dark elements into the lightness of the cake. This process of integrating dualistic forces is unique to each person, and the art becomes part of them. I strive to make the experience as satisfying as possible.\u003c/p>\n\u003cp>\u003cstrong>What are the materials that go into the realistic cake pieces? How long does it take to complete a piece?\u003c/strong>\u003c/p>\n\u003cp>I use whatever materials are on hand to create a suitable form, and carve specific elements from a wood-like poly foam. I do the decorative frosting with a variety or acrylic media. A piece can take from three days to three months depending on complexity and scale.\u003c/p>\n\u003cp>\u003cstrong>Is there one piece in particular that truly exemplifies your vision? Are you able to describe what makes it successful?\u003c/strong>\u003c/p>\n\u003cp>Every piece I work on seems like the breakthrough of the moment. There are a few pieces that have a particular staying power, or an iconic quality that makes them seem newer every day. The womb-like \u003cem>Cake Vault\u003c/em> (2008) is a favorite, with its transcendental comfort. \u003cem>Oligarch\u003c/em> (2014) has a fierceness that is like a blast of hot wind in the face.\u003c/p>\n\u003cp>\u003cstrong>How did the neighborhood take to the space? Did you get a lot of visitors?\u003c/strong>\u003c/p>\n\u003cp>Simply by turning some lights on in the storefront improved the semi-sketchy quality of the corner, which I think was appreciated. Making it an interesting viewing experience helped enrich the neighborhood, which is good for everyone. I never have regular hours, which annoys some people… I just wait for the most determined people to track me down and make an appointment.\u003c/p>\n\u003cp>\u003cstrong>Why are you moving?\u003c/strong>\u003c/p>\n\u003cp>Several reasons. First, the building is in bad need of repair and the owner needs to invest in the space. Second, I’ve run out of space to experiment and I’m not willing to do it in my living room. Third, I’ve really hit a ceiling as far as what I can accomplish here in the Bay Area. I need a bigger space and a more intense playing field. The Bay Area has always been a good place to do art, but not always the best place to leverage one’s art career to its fullest potential.\u003c/p>\n\u003cp>\u003cstrong>What plans do you have for the warehouse space in L.A.?\u003c/strong>\u003c/p>\n\u003cp>Bigger, better, stronger, faster. I’m going to L.A. to do big things.\u003c/p>\n\u003cp>\u003cstrong>Do you think you’ll miss the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course! I was born on California Street in the City and raised in the open spaces of Marin. I know and love many secret natural places where I recalibrate and recharge. It’s not like I’m making this move because I’m in love with how L.A. looks… though I’m finding out fast that L.A. people are really friendly and genuine. I hope that I’ll make enough money eventually to return and get a cool house in Mill Valley or someplace close to the mountain.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artist Scott Hove, a Bay Area native who has made a name for himself in the art world with his striking, cake-themed sculptures, is packing up his frosting and moving to Los Angeles. Last week Hove shut down \u003ca href=\"http://www.mshove.com/cakeland/index.htm\" target=\"_blank\" rel=\"noopener\">Cakeland,\u003c/a> the Oakland storefront he has both lived and exhibited in since 2009. Word of the closure prompted a mad dash by local art fans to see the beautiful and weird world Hove had built in the days before he shuttered the doors and started packing to move.\u003c/p>\n\u003cp>Like many other local artists and creative types, Hove is being priced out of the Bay Area, somewhat. With his star on the rise, Hove is moving into a warehouse in L.A. (something unaffordable in the Bay Area), where he will expand his Cakeland vision further. The cheap space will allow him to do more \u003ca href=\"http://www.mshove.com/cakeland/index-installations.htm\" target=\"_blank\" rel=\"noopener\">massive installations\u003c/a> and he’ll be in closer proximity to more movers and shakers in the art world.\u003c/p>\n\u003cp>We had a few questions for Hove as he packed up for his big move and his honest, insightful answers are below.\u003c/p>\n\u003cfigure id=\"attachment_10138631\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg\" alt=\"Cake Vault, 2008\" width=\"640\" height=\"677\" class=\"size-full wp-image-10138631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1-400x423.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1-283x300.jpg 283w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scott Hove, \u003ci>Cake Vault\u003c/i>, 2008\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is the story behind the Cakeland space? Did the owners know what you planned to do with the store front? Did they know you’d be living in it?\u003c/strong>\u003c/p>\n\u003cp>I had been looking for a suitable place to live and work for several months, and this 1929 former French laundry building opened up. I didn’t expect to find a place with such a lovely storefront, and quickly went about making window displays that I thought would be fun. The building owner is a very cool guy and trusted me to do something that wouldn’t upset the neighbors!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How many separate pieces make up the space — or is it one large installation? How long have you been working on it? How long did it take to make?\u003c/strong>\u003c/p>\n\u003cp>In the storefront gallery, I have two individual mirror chambers, plus a large mirror maze. There is also a blackened hell pit, which is a favorite aspect for viewers. I have one large wall that features my more conventionally-sized wall hanging sculptures. I have done several versions of Cakeland in the space, and the current configuration has been in place for about a year and a half. I keep working on my installations as long as there is space to keep adding on.\u003c/p>\n\u003cp>\u003cstrong>What is the inspiration for your cake-themed work? Where did the idea for adding the teeth come from? (Is it really about the cakes needing to defend themselves?)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg\" alt=\"Hove-Work\" width=\"640\" height=\"401\" class=\"alignright size-full wp-image-10138630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1-300x187.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>I love captivating the emotions of my viewers, and using the image of cake as a language opens people up to be receptive to the messages in the work, whether that message is mine or the viewer’s. The fangs, horns and switchblades are there to add psychological depth to the viewing experience and force the viewer to choose how to integrate the dark elements into the lightness of the cake. This process of integrating dualistic forces is unique to each person, and the art becomes part of them. I strive to make the experience as satisfying as possible.\u003c/p>\n\u003cp>\u003cstrong>What are the materials that go into the realistic cake pieces? How long does it take to complete a piece?\u003c/strong>\u003c/p>\n\u003cp>I use whatever materials are on hand to create a suitable form, and carve specific elements from a wood-like poly foam. I do the decorative frosting with a variety or acrylic media. A piece can take from three days to three months depending on complexity and scale.\u003c/p>\n\u003cp>\u003cstrong>Is there one piece in particular that truly exemplifies your vision? Are you able to describe what makes it successful?\u003c/strong>\u003c/p>\n\u003cp>Every piece I work on seems like the breakthrough of the moment. There are a few pieces that have a particular staying power, or an iconic quality that makes them seem newer every day. The womb-like \u003cem>Cake Vault\u003c/em> (2008) is a favorite, with its transcendental comfort. \u003cem>Oligarch\u003c/em> (2014) has a fierceness that is like a blast of hot wind in the face.\u003c/p>\n\u003cp>\u003cstrong>How did the neighborhood take to the space? Did you get a lot of visitors?\u003c/strong>\u003c/p>\n\u003cp>Simply by turning some lights on in the storefront improved the semi-sketchy quality of the corner, which I think was appreciated. Making it an interesting viewing experience helped enrich the neighborhood, which is good for everyone. I never have regular hours, which annoys some people… I just wait for the most determined people to track me down and make an appointment.\u003c/p>\n\u003cp>\u003cstrong>Why are you moving?\u003c/strong>\u003c/p>\n\u003cp>Several reasons. First, the building is in bad need of repair and the owner needs to invest in the space. Second, I’ve run out of space to experiment and I’m not willing to do it in my living room. Third, I’ve really hit a ceiling as far as what I can accomplish here in the Bay Area. I need a bigger space and a more intense playing field. The Bay Area has always been a good place to do art, but not always the best place to leverage one’s art career to its fullest potential.\u003c/p>\n\u003cp>\u003cstrong>What plans do you have for the warehouse space in L.A.?\u003c/strong>\u003c/p>\n\u003cp>Bigger, better, stronger, faster. I’m going to L.A. to do big things.\u003c/p>\n\u003cp>\u003cstrong>Do you think you’ll miss the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course! I was born on California Street in the City and raised in the open spaces of Marin. I know and love many secret natural places where I recalibrate and recharge. It’s not like I’m making this move because I’m in love with how L.A. looks… though I’m finding out fast that L.A. people are really friendly and genuine. I hope that I’ll make enough money eventually to return and get a cool house in Mill Valley or someplace close to the mountain.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Scott Shafer’s report on photographer Anthony Friedkin’s \u003cb>The Gay Essay\u003c/b> for the California Report on Friday, June 27, 2014:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/10/20140627artsfriedkin.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/25/gay-essay-portraits-of-lgbt-shadow-world-finally-see-light/\">VIDEO: ‘Gay Essay’ Photographer Helped Bring Queer Life Out of Shadows\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/25/gay-essay-portraits-of-lgbt-shadow-world-finally-see-light/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/poster-frame-friedkin-michelle-672x372.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> To mark the 45th anniversary of the Stonewall riots, the de Young Museum is exhibiting Anthony Friedkin’s photo essay of queer life in California, taken at a time when homosexuality was illegal in the state. Scott Shafer explores the creation of this groundbreaking work and the dark times that inspired it.\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/18/through-queer-eyes-45-years-of-mostly-west-coast-lgbt-photography/\">Through Queer Eyes: 45 Years of (Mostly West Coast) LGBT Photography\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/18/through-queer-eyes-45-years-of-mostly-west-coast-lgbt-photography/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> In the decades since Anthony Friedkin made \u003cem>The Gay Essay,\u003c/em> LGBT photographers have continued to explore and expand the meaning of queer identity. Works by the 12 artists in this visual history illuminate themes from those turbulent years.\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>June is LGBT Pride month and this weekend San Francisco hosts the nation’s largest Gay Pride Parade. This year’s events come at a time of extraordinary success for gay rights advocates. The gay and lesbian community in West Hollywood celebrated Pride recently with a mural unveiling at a Wells Fargo bank branch that includes an image from more than four decades ago, part of a collection coming to light only now.\u003c/p>\n\u003cp>It’s a colorized version of a black and white photograph of two men, Morris Kight and Don Kilhefner. The two were gay rights pioneers, co-founding the Gay and Lesbian Community Service Center in Los Angeles in 1970. \u003c/p>\n\u003cp>Kight died 11 years ago but Kilhefner, now 76, was on hand for the unveiling along with Anthony Friedkin, the man who shot that photo. It was the first time they’d seen each other in over 40 years.\u003c/p>\n\u003cp>In 1969, Kilhefner and Kight were approached by Friedkin, then a 19-year-old photographer. Kilhefner remembers the young artist wanted their help getting entree to their community.\u003c/p>\n\u003cp>“Up until that time gay people were not seen very much,” Kilhefner recalls. “If we were seen in public, like a \u003ci>Life Magazine\u003c/i> spread, our faces would be darkened out. It was almost as if you couldn’t show us publicly.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Things began to change with the Stonewall Riots in New York City. Gay men and lesbians were beginning to emerge from the shadows.\u003c/p>\n\u003cp>“It was a political revolution, it was a social revolution, it was a cultural revolution,” Kilhefner says. “It was a spiritual revolution in consciousness for gay people.”\u003c/p>\n\u003cp>It’s what Friedkin wanted to capture with his camera. Friedkin grew up around gay people — his father was a Hollywood writer and director, his mother a dancer at Paramount Studios.\u003c/p>\n\u003cp>But while capturing images of an emerging community long in the shadows made perfect sense to him, he was a little ahead of his time.\u003c/p>\n\u003cp>“Some of my best friends were like, ‘Why are you photographing gay people?’” Friedkin recalls. “‘Like what’s up with you? Are you gay? You know, why are you doing this, ya know?’”\u003c/p>\n\u003cp>But Friedkin wasn’t deterred. Between 1969 and 1973, he spent months hanging out first in Los Angeles, then in San Francisco. On the streets, in bars and nightclubs — sometimes in club bathrooms as drag queens transformed into character. These are some of Friedkin’s favorite photographs.\u003c/p>\n\u003cp>“And these are big men who weigh, two, three hundred pounds,” Friedkin says. “They’re like football players. They have lipstick on and beautiful brassieres and necklaces around their neck. And also visually it was exciting to photograph them because just how they put it all together. It was like that Kinks’ song ‘Lola.’”\u003c/p>\n\u003cp>After hearing about the San Francisco drag troupe The Cockettes, Friedkin went to San Francisco, photographing the performers – including Divine – in a North Beach theater.\u003c/p>\n\u003cp>“I wanted to photograph gays who were willing to take the chance and be courageous and go out the door and say, ‘This is who I am and I’m proud of it,’” Friedkin says.\u003c/p>\n\u003cp>Although he titled this collection of black and white photos \u003cem>The Gay Essay\u003c/em>, he wasn’t making it for a gay audience. He wanted to share his work — documenting a movement and using the images to convey the empathy he felt for his subjects. But his work got only minor attention. Until now.\u003c/p>\n\u003cp>The de Young Museum in San Francisco is featuring \u003ca href=\"https://deyoung.famsf.org/deyoung/exhibitions/anthony-friedkin-gay-essay\" target=\"_blank\" rel=\"noopener\">\u003cem>The Gay Essay\u003c/em>\u003c/a> now through January 11, 2015. The de Young’s photography curator Julian Cox says Friedkin’s collection never got the attention it deserved. \u003c/p>\n\u003cp>“Friedkin’s own efforts to get the photography into the best museums in the country that were working with photography at the time was [sic] not successful,” Cox says. “And it’s taken him 40 years to make it happen.”\u003c/p>\n\u003cp>The reason, Cox says, is that there was a limited audience, and limited opportunities to reach them.\u003c/p>\n\u003cp>“The expression of gay lifestyles is so common in our culture nowadays, from television to videomaking and music as well that it’s not really an issue anymore,” Cox says. “At the time Friedkin was making \u003cem>The Gay Essay\u003c/em> it was still red hot.”\u003c/p>\n\u003cp>And too hot to touch, at least for most galleries of the day. In fact, homosexuality was still illegal in California. The FBI and the LAPD infiltrated gay political and social groups. There was entrapment, harassment and police brutality.\u003c/p>\n\u003cp>Through it all, Friedkin kept working with his Leica M4 camera. The result: a sensuous collection that also documents an era. There are drag queens and hustlers, intimate images of gay and lesbian couples, teenagers just discovering their sexuality. Friedkin’s photos capture the humanity of them all. \u003c/p>\n\u003cp>“There was this incredible need for intimacy and physical passion with each other,” Friedkin says. “The desire to connect, to communicate, to love one another. And I saw it more and more in the photographs.”\u003c/p>\n\u003cp>Art critic Hal Fisher worked for \u003ci>Artweek\u003c/i> in the 1970s. He says to fully appreciate \u003cem>The Gay Essay\u003c/em> you have to appreciate how Friedkin used the rapport he developed.\u003c/p>\n\u003cp>“Anthony Friedkin’s work goes beyond documentation,” Fisher says. “It’s art. It’s not just people saying, ‘Oh, I’m going to the gay day parade I’m going to photograph it.’”\u003c/p>\n\u003cp>As San Francisco holds its annual Gay Pride parade this weekend, Kilhefner hopes Friedkin’s photos help younger LGBT generations understand how a rag-tag group of hippies, hustlers, drag queens and activists laid the foundation for this extraordinary era of civil rights progress.\u003c/p>\n\u003cp>“It’s going to allow gay people to look back and say, ‘Oh my God, that’s what they looked like then. That’s what they were wearing then. That’s what they were doing,'” Kilhefner says. “These are the people who lived that formative period of our history called the beginning of gay liberation.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\n",
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"excerpt": "As San Francisco holds its annual Gay Pride parade this weekend, gay rights pioneer Don Kilhefner hopes Anthony Friedkin's \u003cb>The Gay Essay\u003c/b> helps younger LGBT generations understand how a rag tag group of hippies, hustlers, drag queens and activists laid the foundation for this extraordinary era of civil rights progress.",
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"description": "As San Francisco holds its annual Gay Pride parade this weekend, gay rights pioneer Don Kilhefner hopes Anthony Friedkin's The Gay Essay helps younger LGBT generations understand how a rag tag group of hippies, hustlers, drag queens and activists laid the foundation for this extraordinary era of civil rights progress.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Scott Shafer’s report on photographer Anthony Friedkin’s \u003cb>The Gay Essay\u003c/b> for the California Report on Friday, June 27, 2014:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/10/20140627artsfriedkin.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/25/gay-essay-portraits-of-lgbt-shadow-world-finally-see-light/\">VIDEO: ‘Gay Essay’ Photographer Helped Bring Queer Life Out of Shadows\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/25/gay-essay-portraits-of-lgbt-shadow-world-finally-see-light/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/poster-frame-friedkin-michelle-672x372.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> To mark the 45th anniversary of the Stonewall riots, the de Young Museum is exhibiting Anthony Friedkin’s photo essay of queer life in California, taken at a time when homosexuality was illegal in the state. Scott Shafer explores the creation of this groundbreaking work and the dark times that inspired it.\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/18/through-queer-eyes-45-years-of-mostly-west-coast-lgbt-photography/\">Through Queer Eyes: 45 Years of (Mostly West Coast) LGBT Photography\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/18/through-queer-eyes-45-years-of-mostly-west-coast-lgbt-photography/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> In the decades since Anthony Friedkin made \u003cem>The Gay Essay,\u003c/em> LGBT photographers have continued to explore and expand the meaning of queer identity. Works by the 12 artists in this visual history illuminate themes from those turbulent years.\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>June is LGBT Pride month and this weekend San Francisco hosts the nation’s largest Gay Pride Parade. This year’s events come at a time of extraordinary success for gay rights advocates. The gay and lesbian community in West Hollywood celebrated Pride recently with a mural unveiling at a Wells Fargo bank branch that includes an image from more than four decades ago, part of a collection coming to light only now.\u003c/p>\n\u003cp>It’s a colorized version of a black and white photograph of two men, Morris Kight and Don Kilhefner. The two were gay rights pioneers, co-founding the Gay and Lesbian Community Service Center in Los Angeles in 1970. \u003c/p>\n\u003cp>Kight died 11 years ago but Kilhefner, now 76, was on hand for the unveiling along with Anthony Friedkin, the man who shot that photo. It was the first time they’d seen each other in over 40 years.\u003c/p>\n\u003cp>In 1969, Kilhefner and Kight were approached by Friedkin, then a 19-year-old photographer. Kilhefner remembers the young artist wanted their help getting entree to their community.\u003c/p>\n\u003cp>“Up until that time gay people were not seen very much,” Kilhefner recalls. “If we were seen in public, like a \u003ci>Life Magazine\u003c/i> spread, our faces would be darkened out. It was almost as if you couldn’t show us publicly.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Things began to change with the Stonewall Riots in New York City. Gay men and lesbians were beginning to emerge from the shadows.\u003c/p>\n\u003cp>“It was a political revolution, it was a social revolution, it was a cultural revolution,” Kilhefner says. “It was a spiritual revolution in consciousness for gay people.”\u003c/p>\n\u003cp>It’s what Friedkin wanted to capture with his camera. Friedkin grew up around gay people — his father was a Hollywood writer and director, his mother a dancer at Paramount Studios.\u003c/p>\n\u003cp>But while capturing images of an emerging community long in the shadows made perfect sense to him, he was a little ahead of his time.\u003c/p>\n\u003cp>“Some of my best friends were like, ‘Why are you photographing gay people?’” Friedkin recalls. “‘Like what’s up with you? Are you gay? You know, why are you doing this, ya know?’”\u003c/p>\n\u003cp>But Friedkin wasn’t deterred. Between 1969 and 1973, he spent months hanging out first in Los Angeles, then in San Francisco. On the streets, in bars and nightclubs — sometimes in club bathrooms as drag queens transformed into character. These are some of Friedkin’s favorite photographs.\u003c/p>\n\u003cp>“And these are big men who weigh, two, three hundred pounds,” Friedkin says. “They’re like football players. They have lipstick on and beautiful brassieres and necklaces around their neck. And also visually it was exciting to photograph them because just how they put it all together. It was like that Kinks’ song ‘Lola.’”\u003c/p>\n\u003cp>After hearing about the San Francisco drag troupe The Cockettes, Friedkin went to San Francisco, photographing the performers – including Divine – in a North Beach theater.\u003c/p>\n\u003cp>“I wanted to photograph gays who were willing to take the chance and be courageous and go out the door and say, ‘This is who I am and I’m proud of it,’” Friedkin says.\u003c/p>\n\u003cp>Although he titled this collection of black and white photos \u003cem>The Gay Essay\u003c/em>, he wasn’t making it for a gay audience. He wanted to share his work — documenting a movement and using the images to convey the empathy he felt for his subjects. But his work got only minor attention. Until now.\u003c/p>\n\u003cp>The de Young Museum in San Francisco is featuring \u003ca href=\"https://deyoung.famsf.org/deyoung/exhibitions/anthony-friedkin-gay-essay\" target=\"_blank\" rel=\"noopener\">\u003cem>The Gay Essay\u003c/em>\u003c/a> now through January 11, 2015. The de Young’s photography curator Julian Cox says Friedkin’s collection never got the attention it deserved. \u003c/p>\n\u003cp>“Friedkin’s own efforts to get the photography into the best museums in the country that were working with photography at the time was [sic] not successful,” Cox says. “And it’s taken him 40 years to make it happen.”\u003c/p>\n\u003cp>The reason, Cox says, is that there was a limited audience, and limited opportunities to reach them.\u003c/p>\n\u003cp>“The expression of gay lifestyles is so common in our culture nowadays, from television to videomaking and music as well that it’s not really an issue anymore,” Cox says. “At the time Friedkin was making \u003cem>The Gay Essay\u003c/em> it was still red hot.”\u003c/p>\n\u003cp>And too hot to touch, at least for most galleries of the day. In fact, homosexuality was still illegal in California. The FBI and the LAPD infiltrated gay political and social groups. There was entrapment, harassment and police brutality.\u003c/p>\n\u003cp>Through it all, Friedkin kept working with his Leica M4 camera. The result: a sensuous collection that also documents an era. There are drag queens and hustlers, intimate images of gay and lesbian couples, teenagers just discovering their sexuality. Friedkin’s photos capture the humanity of them all. \u003c/p>\n\u003cp>“There was this incredible need for intimacy and physical passion with each other,” Friedkin says. “The desire to connect, to communicate, to love one another. And I saw it more and more in the photographs.”\u003c/p>\n\u003cp>Art critic Hal Fisher worked for \u003ci>Artweek\u003c/i> in the 1970s. He says to fully appreciate \u003cem>The Gay Essay\u003c/em> you have to appreciate how Friedkin used the rapport he developed.\u003c/p>\n\u003cp>“Anthony Friedkin’s work goes beyond documentation,” Fisher says. “It’s art. It’s not just people saying, ‘Oh, I’m going to the gay day parade I’m going to photograph it.’”\u003c/p>\n\u003cp>As San Francisco holds its annual Gay Pride parade this weekend, Kilhefner hopes Friedkin’s photos help younger LGBT generations understand how a rag-tag group of hippies, hustlers, drag queens and activists laid the foundation for this extraordinary era of civil rights progress.\u003c/p>\n\u003cp>“It’s going to allow gay people to look back and say, ‘Oh my God, that’s what they looked like then. That’s what they were wearing then. That’s what they were doing,'” Kilhefner says. “These are the people who lived that formative period of our history called the beginning of gay liberation.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "rate-of-change-roundup-musicians-mourn-changes-pinterest-to-take-over-newly-historic-building",
"title": "Rate of Change Roundup: Musicians Mourn Changes, Pinterest to Take Over Newly Historic Building",
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"content": "\u003cp>I am not sure how this became my beat, but it seems I am constantly reporting news about rapid changes to the current San Francisco cultural scene. I suppose it’s one of those “right (or wrong) place, right time” scenarios… \u003c/p>\n\u003cp>In any case, Pinterest has signed on to locate its headquarters in a 4-story building in SF’s Showplace Square Design District. The 311,000 square foot structure is currently full of — shockingly — designers and their ilk, who will face eviction if the deal goes through, according to \u003ca href=\"http://www.sfgate.com/default/article/Pinterest-s-Design-District-deal-would-push-out-5566906.php\" target=\"_blank\" rel=\"noopener\">a report on \u003ci>SFGate\u003c/i>\u003c/a>. There was one hitch though. The building was zoned as PDR or “production, distribution and repair” in order to protect blue collar jobs in the area, which is undergoing change as rapidly as everywhere else in the city. However, there was a loophole. If the 99-year-old building could be designated a historic landmark, it could legally convert from PDR to office space. The application, filed in 2013, was unanimously approved by the San Francisco Historic Preservation Commission, and then submitted to the Board of Supervisors when Supervisor Malia Cohen stepped in. Cohen is now working to identify other possible locations for Pinterest. Learn more about this story on \u003ci>SFGate\u003c/i> and \u003ca href=\"http://sf.curbed.com/archives/2014/06/23/pinterest_plans_possible_move_into_sf_design_center.php\" target=\"_blank\" rel=\"noopener\">Curbed SF\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10138252\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/2henryadams.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/2henryadams.jpg\" alt=\"2 Henry Adams in San Francisco\" width=\"640\" height=\"480\" class=\"size-full wp-image-10138252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/2henryadams.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/2henryadams-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/2henryadams-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">2 Henry Adams in San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, a couple of very different musicians have put out music that grapples with the city’s changing cultural environment. Given the rapid conversion of former warehouses into condominiums, the music scene is particularly vulnerable to change. Both the \u003ca href=\"http://ww2.kqed.org/arts/2014/06/05/potrero-hill-art-supply-store-arch-gets-eviction-notice/\" target=\"_blank\" rel=\"noopener\">closing of Potrero Hill’s Arch art supply store\u003c/a> and a \u003ca href=\"http://savethehill.com/faq.html\" target=\"_blank\" rel=\"noopener\">proposal to convert the Corovan Building\u003c/a> into luxury condos bode ill for Bottom of the Hill, the venerable music club that has been bringing some of the best music to San Francisco for decades. \u003c/p>\n\u003cp>Once tucked away in a quiet industrial part of SF, the club may soon be surrounded by housing, should current proposals bear fruit. This situation is not unique. Additionally, many practice and rehearsal spaces have disappeared, leaving bands with fewer venues to play and nowhere to practice. These changes do not even take into account the struggle to earn enough money to afford an apartment in the city.\u003c/p>\n\u003cfigure id=\"attachment_10138244\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/478154820_640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/478154820_640.jpg\" alt=\"Still from Candace Roberts' <i>Not My City Anymore</i>\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/478154820_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/478154820_640-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/478154820_640-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from Candace Roberts’ \u003ci>Not My City Anymore\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Many musicians have fled, while others choose to stay and fight. Tomorrow night (Wednesday, June 25, 2014), local cabaret, pop, jazz and etc. singer Candace Roberts is having a \u003ca href=\"http://flavorpill.com/events/candace-roberts-not-my-city-anymore-music-video-release-party\" target=\"_blank\" rel=\"noopener\">party at the Gold Dust Lounge\u003c/a> to celebrate the release of a new music video for her song “Not My City Anymore.” The performer has always included a little social commentary in her act and tomorrow night’s event not only celebrates the music and the gorgeously rendered video (see below), but also offers folks the chance to get involved and do something to reclaim the city they love. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://youtu.be/-yoRVJzQAe0\u003c/p>\n\u003cp>Ironically, Roberts raised $5,000 on Kickstarter to fund the production of the video, which is available on YouTube, and is promoting the event via Facebook — as do many musicians. The personal and professional networks built and utilized for promotion via these outlets, not to mention the self-publishing capabilities are invaluable to modern artists. So why is there such an apparent culture clash? Does this have something to do with different worldviews? I can’t help but think that there is a tension between those who thrive on real-world interaction and those who are constructing a virtual skin in order to move beyond the physical. (Perhaps food for deeper thought.) \u003c/p>\n\u003cp>Roberts says that the inspiration for the song came from an annual autumnal depression. But in 2013, her usual doldrums seemed more pronounced, and then she looked up and found herself surrounded by new high-rise condos, which she understood she could never afford to live in. Coupled with the increasing frequency of the question “Did you hear about so and so getting evicted?” among her peers, Roberts says she began to think: “‘There isn’t a place for me here anymore’ and then out of nowhere I started humming the chorus, ‘No, she’s not my city anymore.'”\u003c/p>\n\u003cp>Roberts says that she has “always felt proud to live in San Francisco. From such a young age I was keenly aware of how truly special it was … a place of radicalism, inclusion and acceptance where anyone could show up and just be their self… As this cultural and economic cleanse sweeps San Francisco, it echoes the rise of income inequality all across the globe and the corporate take over of every aspect of our lives. Somehow I thought San Francisco was different and that we wouldn’t let this happen because of who we are and what we’ve always stood for. ” (Nevermind whether or not that supposition about the real nature of the city is actually true. I recently explored what I called the \u003ca href=\"http://ww2.kqed.org/arts/2014/03/18/priced-out-saying-good-bye-to-the-myth-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">“myth of San Francisco”\u003c/a> in another piece a couple months back.) \u003c/p>\n\u003cp>Roberts began playing the song about town and the rest, as they say, is history. \u003c/p>\n\u003cp>Another musician, Hannah Lew, formerly of Grass Widow, decided to release a compilation album, \u003ci>San Francisco Is Doomed\u003c/i> on her new \u003ca href=\"http://crimeonthemoon.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Crime on the Moon label,\u003c/a> that consists of tracks from local bands and groups that have moved on. The effort is definitely more hard-edged than Roberts’ cabaret and, with contributions by Silver Shadows, Mansion, Thee Oh Sees, Erase Errata, Mikal Cronin and Cold Circuits has a lot more fun with its nihilism. True to its punk/slightly-goth leanings, there is an exuberance found in the darkness of even the most dire situation. \u003c/p>\n\u003cp>Lew \u003ca href=\"http://sfist.com/2014/06/24/is_san_francisco_doomed.php\" target=\"_blank\" rel=\"noopener\">told Sfist\u003c/a> that the division of wealth in the city, especially the “clean up Market Street” campaign made her uneasy. In her opinion, many of these moves are “straight up class war… There’s almost a fascist atheistic to it all. I think it’s really dangerous when there’s a lot of things made for certain people, a certain class. But I mean, all this being said, I can’t live my life on the day-to-day depressed and angry. A big impetus for putting the comp together was to say, yeah, we know it sucks, but let’s just keep doing what we’re doing and making music and put out something positive.”\u003c/p>\n\u003cp>She also noted that the San Francisco music scene had gotten a lot tougher, with less bands playing shows and less people going out for them. We have noticed this at KQED within the last few weeks, with Bay Area tour dates missing from recently announced tours by some pretty big bands, and wondered if something was afoot. (Perhaps more on that later.) \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/36100435″ params=”color=ff5500&auto_play=false&hide_related=false&show_artwork=true&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\n",
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"excerpt": "Dozens of San Francisco designers are threatened with eviction because Pinterest wants their building, and musicians, inspired by the effects of the rising real estate market, are using their anger to write some amazing songs.",
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"title": "Rate of Change Roundup: Musicians Mourn Changes, Pinterest to Take Over Newly Historic Building | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I am not sure how this became my beat, but it seems I am constantly reporting news about rapid changes to the current San Francisco cultural scene. I suppose it’s one of those “right (or wrong) place, right time” scenarios… \u003c/p>\n\u003cp>In any case, Pinterest has signed on to locate its headquarters in a 4-story building in SF’s Showplace Square Design District. The 311,000 square foot structure is currently full of — shockingly — designers and their ilk, who will face eviction if the deal goes through, according to \u003ca href=\"http://www.sfgate.com/default/article/Pinterest-s-Design-District-deal-would-push-out-5566906.php\" target=\"_blank\" rel=\"noopener\">a report on \u003ci>SFGate\u003c/i>\u003c/a>. There was one hitch though. The building was zoned as PDR or “production, distribution and repair” in order to protect blue collar jobs in the area, which is undergoing change as rapidly as everywhere else in the city. However, there was a loophole. If the 99-year-old building could be designated a historic landmark, it could legally convert from PDR to office space. The application, filed in 2013, was unanimously approved by the San Francisco Historic Preservation Commission, and then submitted to the Board of Supervisors when Supervisor Malia Cohen stepped in. Cohen is now working to identify other possible locations for Pinterest. Learn more about this story on \u003ci>SFGate\u003c/i> and \u003ca href=\"http://sf.curbed.com/archives/2014/06/23/pinterest_plans_possible_move_into_sf_design_center.php\" target=\"_blank\" rel=\"noopener\">Curbed SF\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10138252\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/2henryadams.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/2henryadams.jpg\" alt=\"2 Henry Adams in San Francisco\" width=\"640\" height=\"480\" class=\"size-full wp-image-10138252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/2henryadams.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/2henryadams-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/2henryadams-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">2 Henry Adams in San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, a couple of very different musicians have put out music that grapples with the city’s changing cultural environment. Given the rapid conversion of former warehouses into condominiums, the music scene is particularly vulnerable to change. Both the \u003ca href=\"http://ww2.kqed.org/arts/2014/06/05/potrero-hill-art-supply-store-arch-gets-eviction-notice/\" target=\"_blank\" rel=\"noopener\">closing of Potrero Hill’s Arch art supply store\u003c/a> and a \u003ca href=\"http://savethehill.com/faq.html\" target=\"_blank\" rel=\"noopener\">proposal to convert the Corovan Building\u003c/a> into luxury condos bode ill for Bottom of the Hill, the venerable music club that has been bringing some of the best music to San Francisco for decades. \u003c/p>\n\u003cp>Once tucked away in a quiet industrial part of SF, the club may soon be surrounded by housing, should current proposals bear fruit. This situation is not unique. Additionally, many practice and rehearsal spaces have disappeared, leaving bands with fewer venues to play and nowhere to practice. These changes do not even take into account the struggle to earn enough money to afford an apartment in the city.\u003c/p>\n\u003cfigure id=\"attachment_10138244\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/478154820_640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/478154820_640.jpg\" alt=\"Still from Candace Roberts' <i>Not My City Anymore</i>\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/478154820_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/478154820_640-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/478154820_640-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from Candace Roberts’ \u003ci>Not My City Anymore\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Many musicians have fled, while others choose to stay and fight. Tomorrow night (Wednesday, June 25, 2014), local cabaret, pop, jazz and etc. singer Candace Roberts is having a \u003ca href=\"http://flavorpill.com/events/candace-roberts-not-my-city-anymore-music-video-release-party\" target=\"_blank\" rel=\"noopener\">party at the Gold Dust Lounge\u003c/a> to celebrate the release of a new music video for her song “Not My City Anymore.” The performer has always included a little social commentary in her act and tomorrow night’s event not only celebrates the music and the gorgeously rendered video (see below), but also offers folks the chance to get involved and do something to reclaim the city they love. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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/-yoRVJzQAe0'\n title='//www.youtube.com/embed/-yoRVJzQAe0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ironically, Roberts raised $5,000 on Kickstarter to fund the production of the video, which is available on YouTube, and is promoting the event via Facebook — as do many musicians. The personal and professional networks built and utilized for promotion via these outlets, not to mention the self-publishing capabilities are invaluable to modern artists. So why is there such an apparent culture clash? Does this have something to do with different worldviews? I can’t help but think that there is a tension between those who thrive on real-world interaction and those who are constructing a virtual skin in order to move beyond the physical. (Perhaps food for deeper thought.) \u003c/p>\n\u003cp>Roberts says that the inspiration for the song came from an annual autumnal depression. But in 2013, her usual doldrums seemed more pronounced, and then she looked up and found herself surrounded by new high-rise condos, which she understood she could never afford to live in. Coupled with the increasing frequency of the question “Did you hear about so and so getting evicted?” among her peers, Roberts says she began to think: “‘There isn’t a place for me here anymore’ and then out of nowhere I started humming the chorus, ‘No, she’s not my city anymore.'”\u003c/p>\n\u003cp>Roberts says that she has “always felt proud to live in San Francisco. From such a young age I was keenly aware of how truly special it was … a place of radicalism, inclusion and acceptance where anyone could show up and just be their self… As this cultural and economic cleanse sweeps San Francisco, it echoes the rise of income inequality all across the globe and the corporate take over of every aspect of our lives. Somehow I thought San Francisco was different and that we wouldn’t let this happen because of who we are and what we’ve always stood for. ” (Nevermind whether or not that supposition about the real nature of the city is actually true. I recently explored what I called the \u003ca href=\"http://ww2.kqed.org/arts/2014/03/18/priced-out-saying-good-bye-to-the-myth-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">“myth of San Francisco”\u003c/a> in another piece a couple months back.) \u003c/p>\n\u003cp>Roberts began playing the song about town and the rest, as they say, is history. \u003c/p>\n\u003cp>Another musician, Hannah Lew, formerly of Grass Widow, decided to release a compilation album, \u003ci>San Francisco Is Doomed\u003c/i> on her new \u003ca href=\"http://crimeonthemoon.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Crime on the Moon label,\u003c/a> that consists of tracks from local bands and groups that have moved on. The effort is definitely more hard-edged than Roberts’ cabaret and, with contributions by Silver Shadows, Mansion, Thee Oh Sees, Erase Errata, Mikal Cronin and Cold Circuits has a lot more fun with its nihilism. True to its punk/slightly-goth leanings, there is an exuberance found in the darkness of even the most dire situation. \u003c/p>\n\u003cp>Lew \u003ca href=\"http://sfist.com/2014/06/24/is_san_francisco_doomed.php\" target=\"_blank\" rel=\"noopener\">told Sfist\u003c/a> that the division of wealth in the city, especially the “clean up Market Street” campaign made her uneasy. In her opinion, many of these moves are “straight up class war… There’s almost a fascist atheistic to it all. I think it’s really dangerous when there’s a lot of things made for certain people, a certain class. But I mean, all this being said, I can’t live my life on the day-to-day depressed and angry. A big impetus for putting the comp together was to say, yeah, we know it sucks, but let’s just keep doing what we’re doing and making music and put out something positive.”\u003c/p>\n\u003cp>She also noted that the San Francisco music scene had gotten a lot tougher, with less bands playing shows and less people going out for them. We have noticed this at KQED within the last few weeks, with Bay Area tour dates missing from recently announced tours by some pretty big bands, and wondered if something was afoot. (Perhaps more on that later.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "san-jose-rep-announces-closure",
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"content": "\u003cp>The San Jose Repertory Theatre company announced today that it has ceased operations and is filing for bankruptcy. The 34-year-old organization has been struggling with financial issues for a number of years.\u003c/p>\n\u003cp>“We deeply regret having to take this action because of the impact it will have on our 51 employees, the artists we work with each season, our season ticket holders, loyal patrons and generous donors and supporters,” said Holly Walter, president of the San Jose Rep’s board of trustees. “We also regret the impact on the city of San Jose and the local arts community. However, after months of trying to solve our financial issues, reduce our debts and construct a sustainable model for the organization, we felt we had no choice but to take this action.” \u003c/p>\n\u003cp>There were signs that the theatre company could shut down last year, when a 2012 audit was released and showed that the Rep’s financial situation needed to improve, especially after the effects of 2008 recession on its income. The impact of the recession hit the theater when it was still recovering from a brush with insolvency in 2006, which it snapped back from thanks to a $2 million loan from the City of San Jose.\u003c/p>\n\u003cp>After the media reported on the audit, the company shot back at the claims of its financial problems with a \u003ca href=\"http://pitchengine.com/pitches/ae64aa0f-dff7-427b-ae33-92f3c8a68037\" target=\"_blank\" rel=\"noopener\">press release\u003c/a> stating that “The Rep is here to stay!”\u003c/p>\n\u003cp>“The Rep’s trustees are fully confident in our executive leadership’s ability to continue to manage through these difficult times, and has put plans in place to raise the additional funds needed to gain greater long-term fiscal stability,” said the release. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ci>San Jose Mercury News\u003c/i> \u003ca href=\"http://www.mercurynews.com/entertainment/ci_25938149/reports-fly-that-san-jose-rep-is-trouble\" target=\"_blank\" rel=\"noopener\">reported last night\u003c/a> on rumors about the theater’s fate and noted that other South Bay organizations are experiencing similar struggles. \u003c/p>\n\u003cp>“Ballet San Jose has suffered many a fiscal crisis. Shakespeare Santa Cruz went under last year and then managed to come back to life. American Musical Theatre of San Jose perished in 2008,” reported the Mercury News.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We will report back when we learn more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Jose Repertory Theatre company announced today that it has ceased operations and is filing for bankruptcy. The 34-year-old organization has been struggling with financial issues for a number of years.\u003c/p>\n\u003cp>“We deeply regret having to take this action because of the impact it will have on our 51 employees, the artists we work with each season, our season ticket holders, loyal patrons and generous donors and supporters,” said Holly Walter, president of the San Jose Rep’s board of trustees. “We also regret the impact on the city of San Jose and the local arts community. However, after months of trying to solve our financial issues, reduce our debts and construct a sustainable model for the organization, we felt we had no choice but to take this action.” \u003c/p>\n\u003cp>There were signs that the theatre company could shut down last year, when a 2012 audit was released and showed that the Rep’s financial situation needed to improve, especially after the effects of 2008 recession on its income. The impact of the recession hit the theater when it was still recovering from a brush with insolvency in 2006, which it snapped back from thanks to a $2 million loan from the City of San Jose.\u003c/p>\n\u003cp>After the media reported on the audit, the company shot back at the claims of its financial problems with a \u003ca href=\"http://pitchengine.com/pitches/ae64aa0f-dff7-427b-ae33-92f3c8a68037\" target=\"_blank\" rel=\"noopener\">press release\u003c/a> stating that “The Rep is here to stay!”\u003c/p>\n\u003cp>“The Rep’s trustees are fully confident in our executive leadership’s ability to continue to manage through these difficult times, and has put plans in place to raise the additional funds needed to gain greater long-term fiscal stability,” said the release. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ci>San Jose Mercury News\u003c/i> \u003ca href=\"http://www.mercurynews.com/entertainment/ci_25938149/reports-fly-that-san-jose-rep-is-trouble\" target=\"_blank\" rel=\"noopener\">reported last night\u003c/a> on rumors about the theater’s fate and noted that other South Bay organizations are experiencing similar struggles. \u003c/p>\n\u003cp>“Ballet San Jose has suffered many a fiscal crisis. Shakespeare Santa Cruz went under last year and then managed to come back to life. American Musical Theatre of San Jose perished in 2008,” reported the Mercury News.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We will report back when we learn more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The news that Sony Imageworks is headed to Vancouver — taking roughly 300 jobs with it — is just the latest in a string of depressing headlines for Los Angeles visual effects workers. Nearly two dozen VFX firms have closed or gone bankrupt in the last decade. State lawmakers are \u003ca class=\"rssmi_more\" href=\"http://www.californiareport.org/archive/R201406060850/a\" target=\"_self\" rel=\"noopener\"> …read more\u003c/a>\u003c/p>\n\u003cp>Source: \u003ca title=\"Calif. Visual Effects Industry Struggles in Face of Foreign Subsidies\" href=\"http://www.californiareport.org/archive/R201406060850/a\" target=\"_self\" rel=\"noopener\">TCR Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The news that Sony Imageworks is headed to Vancouver -- taking roughly 300 jobs with it -- is just the latest in a string of depressing headlines for Los Angeles visual effects workers. Nearly two dozen VFX firms have closed or gone bankrupt in the last decade. State lawmakers are \u003ca href=\"http://www.californiareport.org/archive/R201406060850/a\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The news that Sony Imageworks is headed to Vancouver — taking roughly 300 jobs with it — is just the latest in a string of depressing headlines for Los Angeles visual effects workers. Nearly two dozen VFX firms have closed or gone bankrupt in the last decade. State lawmakers are \u003ca class=\"rssmi_more\" href=\"http://www.californiareport.org/archive/R201406060850/a\" target=\"_self\" rel=\"noopener\"> …read more\u003c/a>\u003c/p>\n\u003cp>Source: \u003ca title=\"Calif. Visual Effects Industry Struggles in Face of Foreign Subsidies\" href=\"http://www.californiareport.org/archive/R201406060850/a\" target=\"_self\" rel=\"noopener\">TCR Arts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Potrero Hill Art Supply Store ARCH Gets Eviction Notice",
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"content": "\u003cfigure id=\"attachment_10137258\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch3-400x602.jpg\" alt=\"ARCH art supplies on Potrero Hill\" width=\"400\" height=\"602\" class=\"size-thumbnail wp-image-10137258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch3-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch3-199x300.jpg 199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch3.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">ARCH art supplies on Potrero Hill\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco-based family-owned art supply store ARCH is being evicted from its Potrero Hill location after 13 years, KQED learned Tuesday evening. \u003c/p>\n\u003cp>Artist \u003ca href=\"http://ww2.kqed.org/arts/2014/03/21/meanwhile-in-san-francisco-wendy-macnaughton-illustrates-the-citys-truth/\">Wendy MacNaughton\u003c/a>, who shares the space with ARCH and \u003ca href=\"http://www.birdofvirtue.com/\">Bird of Virtue\u003c/a> (a small jewelry business run by Linnea Oliver), confirmed rumors of her impending eviction on Twitter Tuesday. \u003c/p>\n\u003cp>According to Aaron Gordon, whose family has owned the building for roughly 40 years, the main reason behind the action is to shore up the structure; the family plans to spend over a million dollars on an earthquake retrofit. \u003c/p>\n\u003cp>The news comes on the heels of \u003ca href=\"http://www.thebolditalic.com/articles/4981-flax-moving-to-make-room-for-condos\">last month’s announcement\u003c/a> that FLAX — another locally-owned art supply store — would be vacating its mid-Market street location to make way for condominiums. Combined with displacements at \u003ca href=\"http://ww2.kqed.org/news/2014/04/04/meridian-gallery/\">Meridian Gallery\u003c/a> and \u003ca href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\">77 and 49 Geary\u003c/a>, the announcement delivers yet another jolt in the slow-motion collapse of the Bay Area’s commercial art scene. \u003c/p>\n\u003cp>But the crisis is not limited to for-profit endeavors. On the non-profit front, recent closures at \u003ca href=\"http://ww2.kqed.org/arts/2014/05/22/san-franciscos-intersection-for-the-arts-suspends-programs-lays-off-curators/\">Intersection for the Arts\u003c/a> and Root Division signal an increasing rate of negative change at all levels, not to mention the mass exodus of artists due to skyrocketing rents.\u003c/p>\n\u003cfigure id=\"attachment_10137259\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch2.jpg\" alt=\"Photo by Ganesha Balunsat\" width=\"640\" height=\"587\" class=\"size-full wp-image-10137259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch2-400x366.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch2-300x275.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Ganesha Balunsat\u003c/figcaption>\u003c/figure>\n\u003cp>Susie Colliver, ARCH’s founder and owner, started the business in 1978 when she was just 25 years old. Originally catering to architects in two previous Jackson Square locations, the store started selling art supplies after architects went digital and demand for drafting materials dried up. Facing pressure during the first dot-com boom, ARCH relocated to the store’s current location in 2001. Colliver learned in April that she would need to be out of the building sometime this summer, possibly as soon as July 31, though she is negotiating for an extension to the end of September. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I must admit to being a fan. I live on Potrero Hill and attended graduate school at California College of the Arts, which is located just two blocks away. The secret behind this kind of operation is the staff, which may also be one of the challenges to keeping the doors open. Colliver says that the newest staff member has been at the store for over three years, while four others have been with her for over 20, and they are paid accordingly with full benefits. Their experience is invaluable. I cannot say how often I have gone into ARCH, detailed my latest crackpot scheme, answered a few clarifying questions and then walked away with the right tools for the job. \u003c/p>\n\u003cfigure id=\"attachment_10137264\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch4.jpg\" alt=\"The front desk at ARCH\" width=\"640\" height=\"964\" class=\"size-full wp-image-10137264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch4-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch4-199x300.jpg 199w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The front desk at ARCH\u003c/figcaption>\u003c/figure>\n\u003cp>However, Colliver asks, with the current commercial rental market being what it is, how does such a business survive when the money is made through hundreds of sales of small items — like pencils and single sheets of paper — many priced under a dollar? Some might say that in a modern economy this kind of business is being replaced with online services, but any artist can tell you that there is a tactile quality to the way a pen or a brush moves and that the tooth of a paper can make a huge difference to the end result. \u003c/p>\n\u003cp>It is difficult to compete with businesses that require less space, carry less (or no) stock and can rely on venture capital to fund their rent. \u003c/p>\n\u003cp>“Money means different things to a business specializing in the sale of pieces of paper and pencils and erasers,” says Colliver. Where are the angel investors for art-related businesses, which operate on much smaller profit margins?\u003c/p>\n\u003cfigure id=\"attachment_10137265\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch5.jpg\" alt=\"The paper room at ARCH\" width=\"640\" height=\"964\" class=\"size-full wp-image-10137265\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch5.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch5-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch5-199x300.jpg 199w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The paper room at ARCH\u003c/figcaption>\u003c/figure>\n\u003cp>Tom DeCaigny, the San Francisco Arts Commission’s Director of Cultural Affairs admits that when it comes to assisting small commercial enterprises in the arts, City Hall is behind the curve. The mayor’s office recently released a \u003ca href=\"http://www.sfartscommission.org/artist-resources/\">plan to address the increasingly urgent needs of the local arts community\u003c/a>, but its most developed portion deals with using city funds \u003ci>to aid non-profits\u003c/i> ($2 million has been allocated to help arts organizations deal with rising costs). Additionally, the mayor has allocated $94 million to address the affordable housing crisis, which includes money for artists as well. \u003c/p>\n\u003cp>The third, and least developed — and probably most challenging — part of the equation is commercial, which includes places like ARCH and FLAX. Looking to other cities like London and New York as models, DeCaigny believes the pathway to more stability is through ownership. His office is working with “arts-interested” for-profit developers to identify solutions for places like ARCH and the commercial galleries recently displaced from 49 and 77 Geary, but admits that all the attention paid to the overheated local real estate market only fuels speculation, making available space even more scarce. The city is developing a suite of policy and zoning solutions to incentivize arts development, but will they strike that balance soon enough? \u003c/p>\n\u003cp>On a personal level, DeCaigny says that the FLAX announcement (and now the one from ARCH) stand out for him as real symbols of how dire the situation is for family-owned businesses to survive in the city. I spoke with him over the phone while he was on a break from a meeting discussing just that. “We live in one of the art capitals of the world and we aim to keep it that way,” he said. \u003c/p>\n\u003cp>As for Colliver and ARCH, they are currently exploring the options. “We would love to stay nearby,” says Colliver. “We enjoy being a part of the local arts community.” She hopes that there is someone out there who has space and can recognize that ARCH is more that just a store. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We sell things that people need in order to do creative activity. You can’t have a thriving intellectual community without libraries and bookstores,” says Colliver. “You can’t have a thriving art scene without galleries and art supply stores.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10137258\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch3-400x602.jpg\" alt=\"ARCH art supplies on Potrero Hill\" width=\"400\" height=\"602\" class=\"size-thumbnail wp-image-10137258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch3-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch3-199x300.jpg 199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch3.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">ARCH art supplies on Potrero Hill\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco-based family-owned art supply store ARCH is being evicted from its Potrero Hill location after 13 years, KQED learned Tuesday evening. \u003c/p>\n\u003cp>Artist \u003ca href=\"http://ww2.kqed.org/arts/2014/03/21/meanwhile-in-san-francisco-wendy-macnaughton-illustrates-the-citys-truth/\">Wendy MacNaughton\u003c/a>, who shares the space with ARCH and \u003ca href=\"http://www.birdofvirtue.com/\">Bird of Virtue\u003c/a> (a small jewelry business run by Linnea Oliver), confirmed rumors of her impending eviction on Twitter Tuesday. \u003c/p>\n\u003cp>According to Aaron Gordon, whose family has owned the building for roughly 40 years, the main reason behind the action is to shore up the structure; the family plans to spend over a million dollars on an earthquake retrofit. \u003c/p>\n\u003cp>The news comes on the heels of \u003ca href=\"http://www.thebolditalic.com/articles/4981-flax-moving-to-make-room-for-condos\">last month’s announcement\u003c/a> that FLAX — another locally-owned art supply store — would be vacating its mid-Market street location to make way for condominiums. Combined with displacements at \u003ca href=\"http://ww2.kqed.org/news/2014/04/04/meridian-gallery/\">Meridian Gallery\u003c/a> and \u003ca href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\">77 and 49 Geary\u003c/a>, the announcement delivers yet another jolt in the slow-motion collapse of the Bay Area’s commercial art scene. \u003c/p>\n\u003cp>But the crisis is not limited to for-profit endeavors. On the non-profit front, recent closures at \u003ca href=\"http://ww2.kqed.org/arts/2014/05/22/san-franciscos-intersection-for-the-arts-suspends-programs-lays-off-curators/\">Intersection for the Arts\u003c/a> and Root Division signal an increasing rate of negative change at all levels, not to mention the mass exodus of artists due to skyrocketing rents.\u003c/p>\n\u003cfigure id=\"attachment_10137259\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch2.jpg\" alt=\"Photo by Ganesha Balunsat\" width=\"640\" height=\"587\" class=\"size-full wp-image-10137259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch2-400x366.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch2-300x275.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Ganesha Balunsat\u003c/figcaption>\u003c/figure>\n\u003cp>Susie Colliver, ARCH’s founder and owner, started the business in 1978 when she was just 25 years old. Originally catering to architects in two previous Jackson Square locations, the store started selling art supplies after architects went digital and demand for drafting materials dried up. Facing pressure during the first dot-com boom, ARCH relocated to the store’s current location in 2001. Colliver learned in April that she would need to be out of the building sometime this summer, possibly as soon as July 31, though she is negotiating for an extension to the end of September. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I must admit to being a fan. I live on Potrero Hill and attended graduate school at California College of the Arts, which is located just two blocks away. The secret behind this kind of operation is the staff, which may also be one of the challenges to keeping the doors open. Colliver says that the newest staff member has been at the store for over three years, while four others have been with her for over 20, and they are paid accordingly with full benefits. Their experience is invaluable. I cannot say how often I have gone into ARCH, detailed my latest crackpot scheme, answered a few clarifying questions and then walked away with the right tools for the job. \u003c/p>\n\u003cfigure id=\"attachment_10137264\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch4.jpg\" alt=\"The front desk at ARCH\" width=\"640\" height=\"964\" class=\"size-full wp-image-10137264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch4-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch4-199x300.jpg 199w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The front desk at ARCH\u003c/figcaption>\u003c/figure>\n\u003cp>However, Colliver asks, with the current commercial rental market being what it is, how does such a business survive when the money is made through hundreds of sales of small items — like pencils and single sheets of paper — many priced under a dollar? Some might say that in a modern economy this kind of business is being replaced with online services, but any artist can tell you that there is a tactile quality to the way a pen or a brush moves and that the tooth of a paper can make a huge difference to the end result. \u003c/p>\n\u003cp>It is difficult to compete with businesses that require less space, carry less (or no) stock and can rely on venture capital to fund their rent. \u003c/p>\n\u003cp>“Money means different things to a business specializing in the sale of pieces of paper and pencils and erasers,” says Colliver. Where are the angel investors for art-related businesses, which operate on much smaller profit margins?\u003c/p>\n\u003cfigure id=\"attachment_10137265\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch5.jpg\" alt=\"The paper room at ARCH\" width=\"640\" height=\"964\" class=\"size-full wp-image-10137265\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch5.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch5-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch5-199x300.jpg 199w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The paper room at ARCH\u003c/figcaption>\u003c/figure>\n\u003cp>Tom DeCaigny, the San Francisco Arts Commission’s Director of Cultural Affairs admits that when it comes to assisting small commercial enterprises in the arts, City Hall is behind the curve. The mayor’s office recently released a \u003ca href=\"http://www.sfartscommission.org/artist-resources/\">plan to address the increasingly urgent needs of the local arts community\u003c/a>, but its most developed portion deals with using city funds \u003ci>to aid non-profits\u003c/i> ($2 million has been allocated to help arts organizations deal with rising costs). Additionally, the mayor has allocated $94 million to address the affordable housing crisis, which includes money for artists as well. \u003c/p>\n\u003cp>The third, and least developed — and probably most challenging — part of the equation is commercial, which includes places like ARCH and FLAX. Looking to other cities like London and New York as models, DeCaigny believes the pathway to more stability is through ownership. His office is working with “arts-interested” for-profit developers to identify solutions for places like ARCH and the commercial galleries recently displaced from 49 and 77 Geary, but admits that all the attention paid to the overheated local real estate market only fuels speculation, making available space even more scarce. The city is developing a suite of policy and zoning solutions to incentivize arts development, but will they strike that balance soon enough? \u003c/p>\n\u003cp>On a personal level, DeCaigny says that the FLAX announcement (and now the one from ARCH) stand out for him as real symbols of how dire the situation is for family-owned businesses to survive in the city. I spoke with him over the phone while he was on a break from a meeting discussing just that. “We live in one of the art capitals of the world and we aim to keep it that way,” he said. \u003c/p>\n\u003cp>As for Colliver and ARCH, they are currently exploring the options. “We would love to stay nearby,” says Colliver. “We enjoy being a part of the local arts community.” She hopes that there is someone out there who has space and can recognize that ARCH is more that just a store. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We sell things that people need in order to do creative activity. You can’t have a thriving intellectual community without libraries and bookstores,” says Colliver. “You can’t have a thriving art scene without galleries and art supply stores.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "San Jose Skate Closes Saturday, Leaving Decades of Memories Behind",
"title": "San Jose Skate Closes Saturday, Leaving Decades of Memories Behind",
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"content": "\u003cp>\u003cstrong>By Samantha Clark\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_137500\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/8111794267_a67ca672f0_b.jpg\">\u003cimg class=\"size-medium wp-image-137500\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/8111794267_a67ca672f0_b-640x395.jpg\" alt=\"The Silicon Valley Rollergirls play BADG Berkeley Resistance. (Mark Nockleby/Flickr)\" width=\"640\" height=\"395\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Silicon Valley Roller Girls play BADG Berkeley Resistance. (Mark Nockleby/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>San Jose Skate smells like nacho cheese, plus decades of sweat sealed into the leather of its roller skates and the peeling carpet. “There’s that smell,” someone said as he walked through the doors. Still, the place is cool, with arcade games, rattan '70s-era lamps and a disco ball.\u003c/p>\n\u003cp>But San Jose Skate on Blossom Hill is closing the doors Saturday, and people want to say goodbye. One woman walked her husband to the rink blindfolded for a surprise date at their old hangout.\u003c/p>\n\u003cp>It is the first place Sam Carrington could go without parents. She and about 20 friends held a reunion at the rink.\u003c/p>\n\u003cp>“What happened inside these walls, stayed inside these walls,” Carrington said. “At San Jose Skate, it was the first time my lips touched someone else’s for the purpose of romance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carrington also met her first boyfriend and then her first girlfriend at San Jose Skate.\u003c/p>\n\u003cp>The rink opened as Aloha Roller Palace in 1977, and since then it has hosted countless birthday parties and skating lessons. Now it’s slated for redevelopment as a retail space, said Don Imwalle, president of local developer Imwalle Properties.\u003c/p>\n\u003cp>\"The bottom line is that there are just not a lot of people roller-skating,” he said. “While there are some passionate groups, there are not enough people who are patronizing the business to make it any way viable.”\u003c/p>\n\u003cp>For skating groups, the loss of a rink leaves them without a home.\u003c/p>\n\u003cp>Ten-year-old Sayer McDonald is a competitive inline skater on the \u003ca href=\"https://www.facebook.com/pages/Milpitas-Speed-Team/183193556230\">Milpitas Speed Team\u003c/a>. Her mother drove her to south San Jose three days a week for practice. The team’s old rink was demolished for housing, and now Sayer will have to practice outside.\u003c/p>\n\u003cp>“The wind blows, and there can be dog droppings,” she said.\u003c/p>\n\u003cp>San Jose Skate has also been home to \u003ca href=\"http://svrollergirls.com/\">the Silicon Valley Roller Girls\u003c/a> for seven years, which is raising $20,000 to secure a new space. The leagues are saying aloha to the rink by competing in a doubleheader on Saturday. The Silicon Valley Killabytes will take on the \u003ca href=\"https://www.facebook.com/FaultlineDerbyDollz\">Faultline Derby Devilz\u003c/a> from Hollister, and the Silicon Valley Dot.Kamikazes will play the \u003ca href=\"http://www.bayareaderbygirls.com/teams/berkeley-resistance\">Bay Area Berkeley Resistance\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Underground Rock Scene\u003c/strong>\u003c/p>\n\u003cp>In the mid-2000s, San Jose Skate was also home to the underground music scene. Local bands and big bands played metal and hard-core rock loudly, often featuring lots of blood-curdling, and unintelligible, screaming. However, when San Jose Skate stopped hosting shows in 2008, the scene died.\u003c/p>\n\u003cfigure id=\"attachment_137685\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/photo-4.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/photo-4-300x300.jpg\" alt=\"Andrew Tucker and Matt Mrizek of North of the Woods play at San Jose Skate one last time. (Samantha Clark/KQED)\" width=\"300\" height=\"300\" class=\"size-thumbnail wp-image-137685\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrew Tucker and Matt Mrizek of North of the Woods play at San Jose Skate one last time. (Samantha Clark/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>High school students and 20-somethings came to hear music at the rink Friday and Saturday nights dressed in black and skinny jeans. They swung their arms in mosh pits, and the neighbors called the cops.\u003c/p>\n\u003cp>“If I told my parents I was going to a metal show, they would say, ‘No you’re not,’ ” said Andrew Tucker who went to the shows when he was in high school. “I could just say I’m going to the roller rink.”\u003c/p>\n\u003cp>That crowd is now grown up. Tucker teaches a freshman writing course at San Jose State, where he is also working toward his MFA in creative writing.\u003c/p>\n\u003cp>He and hundreds of folks from the scene showed up to the rink this weekend for a farewell concert series featuring 17 out of 19 bands that reunited just to play one last time at the venue. Some bands even flew in members from other states to practice, and many practiced daily in the week leading up to San Jose Skate’s last breakdown.\u003c/p>\n\u003cp>San Jose Skate got them to pick up their guitars and drumsticks again. Tucker’s band, \u003ca href=\"https://www.facebook.com/pages/North-of-the-Woods/147807758622609\">North of the Woods\u003c/a>, said that even though the shows now are over, they want to keep playing music.\u003c/p>\n\u003cp>“We haven’t played together in four years,” said Matt Mrizek, a guitarist in the band. “The show kind of kick-started us to get back in the swing of things.”\u003c/p>\n\u003cp>Andrew Kutsenda, a former general manager, used to organize the shows. Now he runs his own online marketing company. But when he heard about San Jose Skate’s sale, he messaged all the bands and booked the lineup the next day.\u003c/p>\n\u003cp>“It’s a place that we’ll talk about for the rest of our lives. A lot of people won’t understand it, a lot of people won’t get it, but what we had here was sacred, too,” Kutsenda said. “We hear crazy stories about guys who, like I said earlier, picked up their first guitar because of a band or like, met their now-wife at San Jose Skate. We’ve heard crazy, crazy stories like that, and it just became ingrained with who we all were.”\u003c/p>\n\u003cp>Kutsenda said that it was important to send off the rink with a proper farewell after being such a part of their adolescence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s sad because San Jose Skate’s closing is like the last nail in the scene’s coffin,” Tucker said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Samantha Clark\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_137500\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/8111794267_a67ca672f0_b.jpg\">\u003cimg class=\"size-medium wp-image-137500\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/8111794267_a67ca672f0_b-640x395.jpg\" alt=\"The Silicon Valley Rollergirls play BADG Berkeley Resistance. (Mark Nockleby/Flickr)\" width=\"640\" height=\"395\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Silicon Valley Roller Girls play BADG Berkeley Resistance. (Mark Nockleby/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>San Jose Skate smells like nacho cheese, plus decades of sweat sealed into the leather of its roller skates and the peeling carpet. “There’s that smell,” someone said as he walked through the doors. Still, the place is cool, with arcade games, rattan '70s-era lamps and a disco ball.\u003c/p>\n\u003cp>But San Jose Skate on Blossom Hill is closing the doors Saturday, and people want to say goodbye. One woman walked her husband to the rink blindfolded for a surprise date at their old hangout.\u003c/p>\n\u003cp>It is the first place Sam Carrington could go without parents. She and about 20 friends held a reunion at the rink.\u003c/p>\n\u003cp>“What happened inside these walls, stayed inside these walls,” Carrington said. “At San Jose Skate, it was the first time my lips touched someone else’s for the purpose of romance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carrington also met her first boyfriend and then her first girlfriend at San Jose Skate.\u003c/p>\n\u003cp>The rink opened as Aloha Roller Palace in 1977, and since then it has hosted countless birthday parties and skating lessons. Now it’s slated for redevelopment as a retail space, said Don Imwalle, president of local developer Imwalle Properties.\u003c/p>\n\u003cp>\"The bottom line is that there are just not a lot of people roller-skating,” he said. “While there are some passionate groups, there are not enough people who are patronizing the business to make it any way viable.”\u003c/p>\n\u003cp>For skating groups, the loss of a rink leaves them without a home.\u003c/p>\n\u003cp>Ten-year-old Sayer McDonald is a competitive inline skater on the \u003ca href=\"https://www.facebook.com/pages/Milpitas-Speed-Team/183193556230\">Milpitas Speed Team\u003c/a>. Her mother drove her to south San Jose three days a week for practice. The team’s old rink was demolished for housing, and now Sayer will have to practice outside.\u003c/p>\n\u003cp>“The wind blows, and there can be dog droppings,” she said.\u003c/p>\n\u003cp>San Jose Skate has also been home to \u003ca href=\"http://svrollergirls.com/\">the Silicon Valley Roller Girls\u003c/a> for seven years, which is raising $20,000 to secure a new space. The leagues are saying aloha to the rink by competing in a doubleheader on Saturday. The Silicon Valley Killabytes will take on the \u003ca href=\"https://www.facebook.com/FaultlineDerbyDollz\">Faultline Derby Devilz\u003c/a> from Hollister, and the Silicon Valley Dot.Kamikazes will play the \u003ca href=\"http://www.bayareaderbygirls.com/teams/berkeley-resistance\">Bay Area Berkeley Resistance\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Underground Rock Scene\u003c/strong>\u003c/p>\n\u003cp>In the mid-2000s, San Jose Skate was also home to the underground music scene. Local bands and big bands played metal and hard-core rock loudly, often featuring lots of blood-curdling, and unintelligible, screaming. However, when San Jose Skate stopped hosting shows in 2008, the scene died.\u003c/p>\n\u003cfigure id=\"attachment_137685\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/photo-4.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/photo-4-300x300.jpg\" alt=\"Andrew Tucker and Matt Mrizek of North of the Woods play at San Jose Skate one last time. (Samantha Clark/KQED)\" width=\"300\" height=\"300\" class=\"size-thumbnail wp-image-137685\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrew Tucker and Matt Mrizek of North of the Woods play at San Jose Skate one last time. (Samantha Clark/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>High school students and 20-somethings came to hear music at the rink Friday and Saturday nights dressed in black and skinny jeans. They swung their arms in mosh pits, and the neighbors called the cops.\u003c/p>\n\u003cp>“If I told my parents I was going to a metal show, they would say, ‘No you’re not,’ ” said Andrew Tucker who went to the shows when he was in high school. “I could just say I’m going to the roller rink.”\u003c/p>\n\u003cp>That crowd is now grown up. Tucker teaches a freshman writing course at San Jose State, where he is also working toward his MFA in creative writing.\u003c/p>\n\u003cp>He and hundreds of folks from the scene showed up to the rink this weekend for a farewell concert series featuring 17 out of 19 bands that reunited just to play one last time at the venue. Some bands even flew in members from other states to practice, and many practiced daily in the week leading up to San Jose Skate’s last breakdown.\u003c/p>\n\u003cp>San Jose Skate got them to pick up their guitars and drumsticks again. Tucker’s band, \u003ca href=\"https://www.facebook.com/pages/North-of-the-Woods/147807758622609\">North of the Woods\u003c/a>, said that even though the shows now are over, they want to keep playing music.\u003c/p>\n\u003cp>“We haven’t played together in four years,” said Matt Mrizek, a guitarist in the band. “The show kind of kick-started us to get back in the swing of things.”\u003c/p>\n\u003cp>Andrew Kutsenda, a former general manager, used to organize the shows. Now he runs his own online marketing company. But when he heard about San Jose Skate’s sale, he messaged all the bands and booked the lineup the next day.\u003c/p>\n\u003cp>“It’s a place that we’ll talk about for the rest of our lives. A lot of people won’t understand it, a lot of people won’t get it, but what we had here was sacred, too,” Kutsenda said. “We hear crazy stories about guys who, like I said earlier, picked up their first guitar because of a band or like, met their now-wife at San Jose Skate. We’ve heard crazy, crazy stories like that, and it just became ingrained with who we all were.”\u003c/p>\n\u003cp>Kutsenda said that it was important to send off the rink with a proper farewell after being such a part of their adolescence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s sad because San Jose Skate’s closing is like the last nail in the scene’s coffin,” Tucker said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Maya Angelou, Poet, Activist And Singular Storyteller, Dies At 86",
"headTitle": "Maya Angelou, Poet, Activist And Singular Storyteller, Dies At 86 | KQED",
"content": "\u003cfigure id=\"attachment_10136810\" class=\"wp-caption alignleft\" style=\"max-width: 505px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/angelou2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/angelou2.jpg\" alt=\"Angelou became Hollywood’s first black female movie director on Nov. 3, 1971. She also wrote the script and music for Caged Bird, which was based on her best-selling 1969 autobiography. She had been a professional singer, dancer, writer, composer, poet, lecturer, editor and San Francisco streetcar conductor; Source: NPR\" width=\"505\" height=\"746\" class=\"size-full wp-image-10136810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/angelou2.jpg 505w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/angelou2-400x590.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/angelou2-203x300.jpg 203w\" sizes=\"(max-width: 505px) 100vw, 505px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Angelou became Hollywood’s first black female movie director on Nov. 3, 1971. She also wrote the script and music for Caged Bird, which was based on her best-selling 1969 autobiography. She had been a professional singer, dancer, writer, composer, poet, lecturer, editor and San Francisco streetcar conductor; Source: NPR\u003c/figcaption>\u003c/figure>\n\u003cp>Poet, performer and political activist Maya Angelou has died after a long illness at her home in Winston-Salem, N.C. She was 86. Born in St. Louis in 1928, Angelou grew up in a segregated society that she worked to change during the civil rights era. Angelou, who refused to speak for much of her childhood, revealed the scars of her past in \u003cem>I Know Why the Caged Bird Sings\u003c/em>, the first of a series of memoirs.\u003c/p>\n\u003cp>Growing up in St. Louis, Mo., and Stamps, Ark., she was Marguerite Johnson. It was her brother who first called her Maya, and the name stuck. Later she added the Angelou, a version of her first husband’s name.\u003c/p>\n\u003cp>Angelou left a troubled childhood and the segregated world of Arkansas behind and began a career as a dancer and singer. She toured Europe in the1950s with a production of \u003cem>Porgy and Bess\u003c/em>, studied dance with Martha Graham and performed with Alvin Ailey on television. In 1957 she recorded an album called “Calypso Lady.”\u003c/p>\n\u003cp>“I was known as Miss Calypso, and when I’d forget the lyric, I would tell the audience, ‘I seem to have forgotten the lyric. Now I will dance.’ And I would move around a bit,” she recalled with a laugh during a 2008 interview with NPR.\u003c/p>\n\u003cp>“She really believed that life was a banquet,” says Patrik Henry Bass, an editor at \u003cem>Essence Magazine\u003c/em>. When he read Angelou’s memoir \u003cem>I Know Why the Caged Bird Sings\u003c/em>, he saw parallels in his own life in a small town in North Carolina. He says everyone in the African-American community looked up to her; she was a celebrity but she was one of them. He remembers seeing her on television and hearing her speak.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When we think of her, we often think about her books, of course, and her poems,” he says. “But in the African-American community, certainly, we heard so much of her work recited, so I think about her voice. You would hear that voice, and that voice would capture a humanity, and that voice would calm you in so many ways through some of the most significant challenges.”\u003c/p>\n\u003cp>Film director John Singleton grew up in a very different part of the country. But he remembers the effect Angelou’s poem “\u003ca href=\"http://www.poets.org/viewmedia.php/prmMID/15623\" target=\"_blank\" rel=\"noopener\">Still I Rise\u003c/a>” had on him as a kid. It begins:\u003c/p>\n\u003cp>You may write me down in history\u003cbr>With your bitter, twisted lies,\u003cbr>You may trod me in the very dirt\u003cbr>But still, like dust, I’ll rise.\u003c/p>\n\u003cp>“I come from South Central Los Angeles,” he says. It’s “a place where we learn to puff up our chests to make ourselves bigger than we are because we have so many forces knocking us down — including some of our own. And so that poem … it pumps me up, you know. … It makes me feel better about myself, or at least made me feel better about myself when I was young.”\u003c/p>\n\u003cp>Singleton used Angelou’s poems in his 1993 film \u003cem>Poetic Justice\u003c/em>. Angelou also had a small part in the movie. Singleton says he thinks of Angelou as a \u003cem>griot\u003c/em> — a traditional African storyteller.\u003c/p>\n\u003cp>“We all have that one or two people in our families that just can spin a yarn, that has a whole lot to say, and holds a lot of wisdom from walking through the world and experiencing different things,” he says. “And that’s the way I see Dr. Maya Angelou. She was a contemporary of Martin Luther King, a contemporary of Malcolm X and Oprah Winfrey. She transcends so many different generations of African-American culture that have affected all of us.”\u003c/p>\n\u003cp>Joanne Braxton, a professor at the College of William and Mary, says Angelou’s willingness to reveal the sexual abuse she suffered as a child in \u003cem>I Know Why the Caged Bird Sings\u003c/em> was unprecedented at the time. The critical acclaim and popularity of the book opened doors for both African-American and female writers.\u003c/p>\n\u003cp>“Maya Angelou brought about a paradigm shift in American literature and culture,” Braxton says, “so that the works, the gifts, the talents of women writers, including women writers of color, could be brought to the foreground and appreciated. She created an audience by her stunning example.”\u003c/p>\n\u003cp>For Braxton, the world will never be quite the same without Angelou.\u003c/p>\n\u003cp>“I love her,” she says. “She’s beloved by many, including many, many people who have never met her in person, and who will never meet her in person — but she has extended herself that way, so that her touch extends beyond her physical embrace. That is truly a gift, and we are truly blessed to have known her through her presence and her work.”\u003c/p>\n\u003cp>Angelou once said she believed that “life loves the liver of it,” and she did live it, to the fullest. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Belva Davis’ 2012 \u003ci>This Week in Northern California\u003c/i> tribute to Angelou:\u003cbr>\nhttp://youtu.be/rHWuSrCU_X0\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=Maya+Angelou%2C+Poet%2C+Activist+And+Singular+Storyteller%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10136810\" class=\"wp-caption alignleft\" style=\"max-width: 505px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/angelou2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/angelou2.jpg\" alt=\"Angelou became Hollywood’s first black female movie director on Nov. 3, 1971. She also wrote the script and music for Caged Bird, which was based on her best-selling 1969 autobiography. She had been a professional singer, dancer, writer, composer, poet, lecturer, editor and San Francisco streetcar conductor; Source: NPR\" width=\"505\" height=\"746\" class=\"size-full wp-image-10136810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/angelou2.jpg 505w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/angelou2-400x590.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/angelou2-203x300.jpg 203w\" sizes=\"(max-width: 505px) 100vw, 505px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Angelou became Hollywood’s first black female movie director on Nov. 3, 1971. She also wrote the script and music for Caged Bird, which was based on her best-selling 1969 autobiography. She had been a professional singer, dancer, writer, composer, poet, lecturer, editor and San Francisco streetcar conductor; Source: NPR\u003c/figcaption>\u003c/figure>\n\u003cp>Poet, performer and political activist Maya Angelou has died after a long illness at her home in Winston-Salem, N.C. She was 86. Born in St. Louis in 1928, Angelou grew up in a segregated society that she worked to change during the civil rights era. Angelou, who refused to speak for much of her childhood, revealed the scars of her past in \u003cem>I Know Why the Caged Bird Sings\u003c/em>, the first of a series of memoirs.\u003c/p>\n\u003cp>Growing up in St. Louis, Mo., and Stamps, Ark., she was Marguerite Johnson. It was her brother who first called her Maya, and the name stuck. Later she added the Angelou, a version of her first husband’s name.\u003c/p>\n\u003cp>Angelou left a troubled childhood and the segregated world of Arkansas behind and began a career as a dancer and singer. She toured Europe in the1950s with a production of \u003cem>Porgy and Bess\u003c/em>, studied dance with Martha Graham and performed with Alvin Ailey on television. In 1957 she recorded an album called “Calypso Lady.”\u003c/p>\n\u003cp>“I was known as Miss Calypso, and when I’d forget the lyric, I would tell the audience, ‘I seem to have forgotten the lyric. Now I will dance.’ And I would move around a bit,” she recalled with a laugh during a 2008 interview with NPR.\u003c/p>\n\u003cp>“She really believed that life was a banquet,” says Patrik Henry Bass, an editor at \u003cem>Essence Magazine\u003c/em>. When he read Angelou’s memoir \u003cem>I Know Why the Caged Bird Sings\u003c/em>, he saw parallels in his own life in a small town in North Carolina. He says everyone in the African-American community looked up to her; she was a celebrity but she was one of them. He remembers seeing her on television and hearing her speak.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When we think of her, we often think about her books, of course, and her poems,” he says. “But in the African-American community, certainly, we heard so much of her work recited, so I think about her voice. You would hear that voice, and that voice would capture a humanity, and that voice would calm you in so many ways through some of the most significant challenges.”\u003c/p>\n\u003cp>Film director John Singleton grew up in a very different part of the country. But he remembers the effect Angelou’s poem “\u003ca href=\"http://www.poets.org/viewmedia.php/prmMID/15623\" target=\"_blank\" rel=\"noopener\">Still I Rise\u003c/a>” had on him as a kid. It begins:\u003c/p>\n\u003cp>You may write me down in history\u003cbr>With your bitter, twisted lies,\u003cbr>You may trod me in the very dirt\u003cbr>But still, like dust, I’ll rise.\u003c/p>\n\u003cp>“I come from South Central Los Angeles,” he says. It’s “a place where we learn to puff up our chests to make ourselves bigger than we are because we have so many forces knocking us down — including some of our own. And so that poem … it pumps me up, you know. … It makes me feel better about myself, or at least made me feel better about myself when I was young.”\u003c/p>\n\u003cp>Singleton used Angelou’s poems in his 1993 film \u003cem>Poetic Justice\u003c/em>. Angelou also had a small part in the movie. Singleton says he thinks of Angelou as a \u003cem>griot\u003c/em> — a traditional African storyteller.\u003c/p>\n\u003cp>“We all have that one or two people in our families that just can spin a yarn, that has a whole lot to say, and holds a lot of wisdom from walking through the world and experiencing different things,” he says. “And that’s the way I see Dr. Maya Angelou. She was a contemporary of Martin Luther King, a contemporary of Malcolm X and Oprah Winfrey. She transcends so many different generations of African-American culture that have affected all of us.”\u003c/p>\n\u003cp>Joanne Braxton, a professor at the College of William and Mary, says Angelou’s willingness to reveal the sexual abuse she suffered as a child in \u003cem>I Know Why the Caged Bird Sings\u003c/em> was unprecedented at the time. The critical acclaim and popularity of the book opened doors for both African-American and female writers.\u003c/p>\n\u003cp>“Maya Angelou brought about a paradigm shift in American literature and culture,” Braxton says, “so that the works, the gifts, the talents of women writers, including women writers of color, could be brought to the foreground and appreciated. She created an audience by her stunning example.”\u003c/p>\n\u003cp>For Braxton, the world will never be quite the same without Angelou.\u003c/p>\n\u003cp>“I love her,” she says. “She’s beloved by many, including many, many people who have never met her in person, and who will never meet her in person — but she has extended herself that way, so that her touch extends beyond her physical embrace. That is truly a gift, and we are truly blessed to have known her through her presence and her work.”\u003c/p>\n\u003cp>Angelou once said she believed that “life loves the liver of it,” and she did live it, to the fullest. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Belva Davis’ 2012 \u003ci>This Week in Northern California\u003c/i> tribute to Angelou:\u003cbr>\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/rHWuSrCU_X0'\n title='//www.youtube.com/embed/rHWuSrCU_X0'\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=Maya+Angelou%2C+Poet%2C+Activist+And+Singular+Storyteller%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco’s Intersection for the Arts announced today that it will dramatically restructure its organization, suspend programs, and lay off key staff by the end of this month. \u003c/p>\n\u003cp>Included among those furloughed are Visual Arts Program Director Kevin B. Chen, Outreach and Community Engagement Program Director Rebeka Rodriguez, and Theatre Program Director Sean San José, as well as all communications staff. Intersection Incubator, the organization’s fiscal sponsorship program, supports 125 smaller organizations annually — it will remain intact. Intersection will continue to provide a performance platform for Incubator Program and Innovation Studio. Randy Rollison, presently Program Director Artist Resources, will assume the role of Interim Director.\u003c/p>\n\u003cp>Founded in the 1960s “as a merger of several faith-based experiments that were using art to reach disenfranchised neighborhood youth” and as a community center for conscientious objectors to the Vietnam War, Intersection for the Arts is one of San Francisco’s oldest alternative spaces. Next year will mark its 50\u003csup>th\u003c/sup> anniversary.\u003c/p>\n\u003cfigure id=\"attachment_10136597\" class=\"wp-caption alignright\" style=\"max-width: 801px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Intersection_recollection-e1400805121303.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Intersection_recollection-e1400805121303.jpg\" alt=\"Inside Intersection for the Arts \" width=\"801\" height=\"534\" class=\"size-full wp-image-10136597\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Inside Intersection for the Arts\u003c/figcaption>\u003c/figure>\n\u003cp>Intersection’s varied programs include a gallery, a literary series, a Jazz program, artist residencies, and a theatre/performance series. An incredible array of artists have participated in its programs, including Junot Diaz, Dave Eggers, Whoopi Goldberg, Joe Goode, bell hooks, Ishmael Reed and Alice Walker, among many others. Presently San Francisco artist Bernie Lubbell has a site-specific installation in the gallery, on view through June 7. \u003ci>Chasing Mehserle,\u003c/i> a new performance piece by Chinaka Hodge, jointly presented by Intersection for the Arts, Campo Santo and the Living Word Project (Youth Speaks theatre company) has performances scheduled through May 24. All current programs are slated to conclude on schedule. Summer programs will be announced in June.\u003c/p>\n\u003cp>The news of Intersections’ troubles comes at a time when many \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=134546\" target=\"_blank\" rel=\"noopener\">San Francisco arts organizations are struggling\u003c/a>, even amidst the city’s recent development boom. Community arts and education organization Root Division announced that it will need to relocate by the end of June, after receiving notice earlier this year that its rent would substantially increase. Recently Union Square non-profit Meridian Gallery was narrowly spared immediate \u003ca href=\"http://ww2.kqed.org/news/2014/04/04/meridian-gallery/\" target=\"_blank\" rel=\"noopener\">eviction\u003c/a> after its landlords demanded a year’s rent and security deposit paid in advance, totaling $100,000. According to Meridian’s website, it presently has an extended lease through June.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the years Intersection for the Arts, Root Division and Meridian Gallery have all provided extensive youth and community education programs, as well as important venues for experimental and politically provocative contemporary art. Each represents a core organization within San Francisco’s vital grassroots art community, the health of which has rapidly diminished in the last year due to shifting models for non-profit arts funding and escalating real estate values. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City.jpg\" alt=\"Intersection_Ants in the City\" width=\"720\" height=\"480\" class=\"alignright size-full wp-image-10136600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City-300x200.jpg 300w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003c/p>\n\u003cp>“With the specific shifts in the economy and culture of San Francisco, it has been increasingly difficult to operate and sustain a community-based nonprofit arts organization like Intersection,” noted Kevin B. Chen, Intersection’s visual arts curator for the last fifteen years, in a farewell email sent to members today.\u003c/p>\n\u003cp>In response to these “specific shifts” last November, the Board of Supervisors resolved to create the Working Group on Nonprofit Displacement, which was tasked to allocate funds for safeguarding the city’s cultural heritage against displacement. The board placed $2.515 million on reserve for recommendations made by the working group; earlier this year Supervisor John Avalos further amended this figure with an additional $2 million earmarked for the nonprofit arts community. Requests for proposals for a third party intermediary to manage these funds are anticipated to be released in June, with the hope that funds will start being distributed sometime in the fall. Even as the city is making an effort to support the non-profit community, it is unclear whether or not these efforts will happen soon enough at this rate to protect some of the city’s most vital arts organizations.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Below is the press release from Intersection of the Arts:\u003c/i>\u003c/p>\n\u003cblockquote>\u003cp>Dear Friends of Intersection for the Arts:\u003c/p>\n\u003cp>We are writing on behalf of the Board of Directors of Intersection for the Arts to inform you of difficult but necessary decisions that we have taken to confront fundamental challenges to the organization. For nearly 50 years, Intersection has existed as San Francisco’s oldest alternative arts space, weathering a myriad of challenges, successes and evolutionary changes. We now find ourselves at another major turning point. Our financial situation is deeply challenged, and it has become apparent that the current business model is no longer sustainable.\u003c/p>\n\u003cp>Our financial situation has always been fragile. Like many non-profit, grassroots arts organizations, it has been a perpetual struggle, dependent on “angel donors,” “heroic” leadership and unpredictable trends. The move from our long-time home in the Mission to an improved facility in SOMA was a significant effort to address this issue, but it was increasingly clear that they were not enough to build the financial foundation we need not merely to survive, but to grow and thrive.\u003c/p>\n\u003cp>Recognizing that the organization needed fundamental change to sustain its contributions to community life, the Board embarked on a deep organizational examination that led to a substantial rethinking of our role in the community and a refining of our mission.\u003c/p>\n\u003cp>As of June 1, therefore, the following changes will occur:\u003c/p>\n\u003cul>\n\u003cli>Except for a limited amount of funded projects already in the pipeline, Intersection will no longer produce its own work but will continue to provide a platform to present performances by Incubator Program and Innovation Studio members and resident artists.\u003c/li>\n\u003cli>Resident company Campo Santo will transition to a strictly fiscally sponsored project and Sean San Jose, currently Intersection’s performing arts program director, will continue to lead the company. \u003c/li>\n\u003cli>The Visual Arts, and Education and Community Engagement Programs will be put on hold.\u003c/li>\n\u003cli>Unfortunately, long-time program directors Kevin Chen, Rebeka Rodriguez and Sean San Jose will be laid off, as will a number of support staff, and various contractors will be released.\u003c/li>\n\u003cli>Randy Rollison, Program Director Artist Resources, will take on the role of Interim Executive Director.\u003c/li>\n\u003cli>The Board, staff and key Intersection stakeholders will actively engage artists, community leaders, and funders to test the programmatic elements and economic viability of this emergent platform concept.\u003c/li>\n\u003c/ul>\n\u003cp>This restructure, though painful, is necessary not only to address Intersection’s current financial situation, but to serve as a catalyst for an entirely new kind of artist and community engagement model that can sustain a healthy organization through an arts-centered entrepreneurial approach that relies on multi-disciplinary and highly collaborative partnerships in the Bay Area.\u003c/p>\n\u003cp>In the meantime, performance programs that were scheduled throughout the summer featuring the work of Incubator and Innovation Studio members will continue. And as living testament to our work in our neighborhood, community visual arts projects by Evan Bissell, Ana Teresa Fernandez, Wendy McNaughton and others are still alive and active in the streets of San Francisco.\u003c/p>\n\u003cp>Intersection’s Incubator Program, with more than 100 fiscally sponsored projects working in performance, music, visual art, community engagement, arts education, artist services and advocacy, will continue without interruption. While not as visible as our visual arts, performing arts and community engagement programs, the Incubator program has nurtured thousands of artists since it began in the 1970’s who have gone on to show work in our gallery and on our stage as well as at other regional, national and international institutions. Many current and former members have evolved into some of today’s most vital Bay Area arts organizations and play an important role in maintaining a healthy arts ecology, among them Litquake, Cutting Ball Theater, Youth Speaks, Erika Chong Shuch’s ESP Project, Felonious, Mugwumpin and StageWrite to name a few.\u003c/p>\n\u003cp>The Innovation Studio and the Community Rentals Program will also remain unchanged.\u003c/p>\n\u003cp>None of these decisions have been taken lightly, and the necessity of laying off long-time staff members and releasing key contractors is particularly painful. These are the individuals who have made significant and lasting contributions to the organization and the artistic life of the entire Bay Area. They are valued members of the Intersection family and we are grateful to them for all they have given and regret terribly the impact this will have on their lives.\u003c/p>\n\u003cp>We believe that Intersection’s long history, its impact on San Francisco artists and the arts community over the years, and its existing partnerships and programs provide a sound base for us to build a sustainable, impactful model that honors the past and looks toward a healthy and productive future. Our goal over the next few months is to craft that model and re-emerge in the fall with a new business plan that will sustain the organization’s ability to use an arts-centered approach to building engaged, inclusive, and economically and culturally vigorous communities.\u003c/p>\n\u003cp>We know that for many of you this is sudden and unexpected news. We still don’t have all the answers or details worked out but we believe we have a solid foundation upon which to rebuild the organization.\u003c/p>\n\u003cp>Of course, we can’t do this alone. We need you to be an active part of this process. We will continue to keep you informed of our progress and plans and hope to convene a public conversation in the very near future. In the meantime, we want to know what you think and invite you to email us at transition@theintersection.org and share your ideas, thoughts, memories, comments, criticism. Even better, attend one of our upcoming summer programs, and, if you want to support our work through this critical transition, please make a donation. https://donatenow.networkforgood.org/intersectionforthearts\u003c/p>\n\u003cp>Intersection has always been a community based organization and you are a vital part of that community. We hope we can look forward to your continued support, patience, and perseverance as we take these difficult but necessary actions to build a sustainable foundation for Intersection that will last another 50 years.\u003c/p>\n\u003cp>Sincerely,\u003c/p>\n\u003cp>Yancy Widmer, Chair, Board of Directors \u003c/p>\n\u003cp>Arthur Combs, Interim Executive Director\u003c/p>\n\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s Intersection for the Arts announced today that it will dramatically restructure its organization, suspend programs, and lay off key staff by the end of this month. \u003c/p>\n\u003cp>Included among those furloughed are Visual Arts Program Director Kevin B. Chen, Outreach and Community Engagement Program Director Rebeka Rodriguez, and Theatre Program Director Sean San José, as well as all communications staff. Intersection Incubator, the organization’s fiscal sponsorship program, supports 125 smaller organizations annually — it will remain intact. Intersection will continue to provide a performance platform for Incubator Program and Innovation Studio. Randy Rollison, presently Program Director Artist Resources, will assume the role of Interim Director.\u003c/p>\n\u003cp>Founded in the 1960s “as a merger of several faith-based experiments that were using art to reach disenfranchised neighborhood youth” and as a community center for conscientious objectors to the Vietnam War, Intersection for the Arts is one of San Francisco’s oldest alternative spaces. Next year will mark its 50\u003csup>th\u003c/sup> anniversary.\u003c/p>\n\u003cfigure id=\"attachment_10136597\" class=\"wp-caption alignright\" style=\"max-width: 801px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Intersection_recollection-e1400805121303.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Intersection_recollection-e1400805121303.jpg\" alt=\"Inside Intersection for the Arts \" width=\"801\" height=\"534\" class=\"size-full wp-image-10136597\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Inside Intersection for the Arts\u003c/figcaption>\u003c/figure>\n\u003cp>Intersection’s varied programs include a gallery, a literary series, a Jazz program, artist residencies, and a theatre/performance series. An incredible array of artists have participated in its programs, including Junot Diaz, Dave Eggers, Whoopi Goldberg, Joe Goode, bell hooks, Ishmael Reed and Alice Walker, among many others. Presently San Francisco artist Bernie Lubbell has a site-specific installation in the gallery, on view through June 7. \u003ci>Chasing Mehserle,\u003c/i> a new performance piece by Chinaka Hodge, jointly presented by Intersection for the Arts, Campo Santo and the Living Word Project (Youth Speaks theatre company) has performances scheduled through May 24. All current programs are slated to conclude on schedule. Summer programs will be announced in June.\u003c/p>\n\u003cp>The news of Intersections’ troubles comes at a time when many \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=134546\" target=\"_blank\" rel=\"noopener\">San Francisco arts organizations are struggling\u003c/a>, even amidst the city’s recent development boom. Community arts and education organization Root Division announced that it will need to relocate by the end of June, after receiving notice earlier this year that its rent would substantially increase. Recently Union Square non-profit Meridian Gallery was narrowly spared immediate \u003ca href=\"http://ww2.kqed.org/news/2014/04/04/meridian-gallery/\" target=\"_blank\" rel=\"noopener\">eviction\u003c/a> after its landlords demanded a year’s rent and security deposit paid in advance, totaling $100,000. According to Meridian’s website, it presently has an extended lease through June.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the years Intersection for the Arts, Root Division and Meridian Gallery have all provided extensive youth and community education programs, as well as important venues for experimental and politically provocative contemporary art. Each represents a core organization within San Francisco’s vital grassroots art community, the health of which has rapidly diminished in the last year due to shifting models for non-profit arts funding and escalating real estate values. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City.jpg\" alt=\"Intersection_Ants in the City\" width=\"720\" height=\"480\" class=\"alignright size-full wp-image-10136600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City-300x200.jpg 300w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003c/p>\n\u003cp>“With the specific shifts in the economy and culture of San Francisco, it has been increasingly difficult to operate and sustain a community-based nonprofit arts organization like Intersection,” noted Kevin B. Chen, Intersection’s visual arts curator for the last fifteen years, in a farewell email sent to members today.\u003c/p>\n\u003cp>In response to these “specific shifts” last November, the Board of Supervisors resolved to create the Working Group on Nonprofit Displacement, which was tasked to allocate funds for safeguarding the city’s cultural heritage against displacement. The board placed $2.515 million on reserve for recommendations made by the working group; earlier this year Supervisor John Avalos further amended this figure with an additional $2 million earmarked for the nonprofit arts community. Requests for proposals for a third party intermediary to manage these funds are anticipated to be released in June, with the hope that funds will start being distributed sometime in the fall. Even as the city is making an effort to support the non-profit community, it is unclear whether or not these efforts will happen soon enough at this rate to protect some of the city’s most vital arts organizations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Below is the press release from Intersection of the Arts:\u003c/i>\u003c/p>\n\u003cblockquote>\u003cp>Dear Friends of Intersection for the Arts:\u003c/p>\n\u003cp>We are writing on behalf of the Board of Directors of Intersection for the Arts to inform you of difficult but necessary decisions that we have taken to confront fundamental challenges to the organization. For nearly 50 years, Intersection has existed as San Francisco’s oldest alternative arts space, weathering a myriad of challenges, successes and evolutionary changes. We now find ourselves at another major turning point. Our financial situation is deeply challenged, and it has become apparent that the current business model is no longer sustainable.\u003c/p>\n\u003cp>Our financial situation has always been fragile. Like many non-profit, grassroots arts organizations, it has been a perpetual struggle, dependent on “angel donors,” “heroic” leadership and unpredictable trends. The move from our long-time home in the Mission to an improved facility in SOMA was a significant effort to address this issue, but it was increasingly clear that they were not enough to build the financial foundation we need not merely to survive, but to grow and thrive.\u003c/p>\n\u003cp>Recognizing that the organization needed fundamental change to sustain its contributions to community life, the Board embarked on a deep organizational examination that led to a substantial rethinking of our role in the community and a refining of our mission.\u003c/p>\n\u003cp>As of June 1, therefore, the following changes will occur:\u003c/p>\n\u003cul>\n\u003cli>Except for a limited amount of funded projects already in the pipeline, Intersection will no longer produce its own work but will continue to provide a platform to present performances by Incubator Program and Innovation Studio members and resident artists.\u003c/li>\n\u003cli>Resident company Campo Santo will transition to a strictly fiscally sponsored project and Sean San Jose, currently Intersection’s performing arts program director, will continue to lead the company. \u003c/li>\n\u003cli>The Visual Arts, and Education and Community Engagement Programs will be put on hold.\u003c/li>\n\u003cli>Unfortunately, long-time program directors Kevin Chen, Rebeka Rodriguez and Sean San Jose will be laid off, as will a number of support staff, and various contractors will be released.\u003c/li>\n\u003cli>Randy Rollison, Program Director Artist Resources, will take on the role of Interim Executive Director.\u003c/li>\n\u003cli>The Board, staff and key Intersection stakeholders will actively engage artists, community leaders, and funders to test the programmatic elements and economic viability of this emergent platform concept.\u003c/li>\n\u003c/ul>\n\u003cp>This restructure, though painful, is necessary not only to address Intersection’s current financial situation, but to serve as a catalyst for an entirely new kind of artist and community engagement model that can sustain a healthy organization through an arts-centered entrepreneurial approach that relies on multi-disciplinary and highly collaborative partnerships in the Bay Area.\u003c/p>\n\u003cp>In the meantime, performance programs that were scheduled throughout the summer featuring the work of Incubator and Innovation Studio members will continue. And as living testament to our work in our neighborhood, community visual arts projects by Evan Bissell, Ana Teresa Fernandez, Wendy McNaughton and others are still alive and active in the streets of San Francisco.\u003c/p>\n\u003cp>Intersection’s Incubator Program, with more than 100 fiscally sponsored projects working in performance, music, visual art, community engagement, arts education, artist services and advocacy, will continue without interruption. While not as visible as our visual arts, performing arts and community engagement programs, the Incubator program has nurtured thousands of artists since it began in the 1970’s who have gone on to show work in our gallery and on our stage as well as at other regional, national and international institutions. Many current and former members have evolved into some of today’s most vital Bay Area arts organizations and play an important role in maintaining a healthy arts ecology, among them Litquake, Cutting Ball Theater, Youth Speaks, Erika Chong Shuch’s ESP Project, Felonious, Mugwumpin and StageWrite to name a few.\u003c/p>\n\u003cp>The Innovation Studio and the Community Rentals Program will also remain unchanged.\u003c/p>\n\u003cp>None of these decisions have been taken lightly, and the necessity of laying off long-time staff members and releasing key contractors is particularly painful. These are the individuals who have made significant and lasting contributions to the organization and the artistic life of the entire Bay Area. They are valued members of the Intersection family and we are grateful to them for all they have given and regret terribly the impact this will have on their lives.\u003c/p>\n\u003cp>We believe that Intersection’s long history, its impact on San Francisco artists and the arts community over the years, and its existing partnerships and programs provide a sound base for us to build a sustainable, impactful model that honors the past and looks toward a healthy and productive future. Our goal over the next few months is to craft that model and re-emerge in the fall with a new business plan that will sustain the organization’s ability to use an arts-centered approach to building engaged, inclusive, and economically and culturally vigorous communities.\u003c/p>\n\u003cp>We know that for many of you this is sudden and unexpected news. We still don’t have all the answers or details worked out but we believe we have a solid foundation upon which to rebuild the organization.\u003c/p>\n\u003cp>Of course, we can’t do this alone. We need you to be an active part of this process. We will continue to keep you informed of our progress and plans and hope to convene a public conversation in the very near future. In the meantime, we want to know what you think and invite you to email us at transition@theintersection.org and share your ideas, thoughts, memories, comments, criticism. Even better, attend one of our upcoming summer programs, and, if you want to support our work through this critical transition, please make a donation. https://donatenow.networkforgood.org/intersectionforthearts\u003c/p>\n\u003cp>Intersection has always been a community based organization and you are a vital part of that community. We hope we can look forward to your continued support, patience, and perseverance as we take these difficult but necessary actions to build a sustainable foundation for Intersection that will last another 50 years.\u003c/p>\n\u003cp>Sincerely,\u003c/p>\n\u003cp>Yancy Widmer, Chair, Board of Directors \u003c/p>\n\u003cp>Arthur Combs, Interim Executive Director\u003c/p>\n\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Coit tower, the iconic San Francisco landmark that sits atop Telegraph Hill, houses some of our region’s most spectacular fresco murals. Commissioned as a part of President Franklin Roosevelt’s New Deal with the aim of providing paying work for artists, the murals offer a vivid glimpse of workers’ lives in factories and fields, while also capturing the chaotic edginess of street life in the tumultuous times of the Great Depression. \u003c/p>\n\u003cp>After a six-month restoration effort that required Coit Tower to close its doors to the public, the tower and its murals were reopened last week. \u003c/p>\n\u003cp>What many don’t know is that the Coit Tower murals are but one of many amazing public mural collections you can view for free around San Francisco. Download KQED’s \u003ca href=\"http://www.kqed.org/w/letsgetlost/index.html\" target=\"_blank\" rel=\"noopener\">Let’s Get Lost app\u003c/a> and see where to go to discover these treasures. Included in the app are links to videos with more information on several featured sites, including not-to-miss footage of master muralist \u003ca href=\"http://en.wikipedia.org/wiki/Diego_Rivera\" target=\"_blank\" rel=\"noopener\">Diego Rivera\u003c/a> painting his work, \u003cem>Pan American Unity\u003c/em>, which is now housed at City College of San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Coit tower, the iconic San Francisco landmark that sits atop Telegraph Hill, houses some of our region’s most spectacular fresco murals. Commissioned as a part of President Franklin Roosevelt’s New Deal with the aim of providing paying work for artists, the murals offer a vivid glimpse of workers’ lives in factories and fields, while also capturing the chaotic edginess of street life in the tumultuous times of the Great Depression. \u003c/p>\n\u003cp>After a six-month restoration effort that required Coit Tower to close its doors to the public, the tower and its murals were reopened last week. \u003c/p>\n\u003cp>What many don’t know is that the Coit Tower murals are but one of many amazing public mural collections you can view for free around San Francisco. Download KQED’s \u003ca href=\"http://www.kqed.org/w/letsgetlost/index.html\" target=\"_blank\" rel=\"noopener\">Let’s Get Lost app\u003c/a> and see where to go to discover these treasures. Included in the app are links to videos with more information on several featured sites, including not-to-miss footage of master muralist \u003ca href=\"http://en.wikipedia.org/wiki/Diego_Rivera\" target=\"_blank\" rel=\"noopener\">Diego Rivera\u003c/a> painting his work, \u003cem>Pan American Unity\u003c/em>, which is now housed at City College of San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Gordon Willis, the cinematographer behind such classic 1970s films as \u003cem>Annie Hall\u003c/em>, \u003cem>Klute\u003c/em>, \u003cem>All the President’s Men\u003c/em> and the \u003cem>Godfather\u003c/em> series, died on Sunday. He was 82.\u003c/p>\n\u003cp>“One cinematographer had established a kind of noir color look, rich in brown, amber and shadow, that was a vital force in the noir movies made in Hollywood in the 1970s,” film historian David Thomson wrote of Willis in his \u003cem>New Biographical Dictionary of Film\u003c/em>.\u003c/p>\n\u003cp>Willis won an honorary Academy Award in 2009, but never took home the prize for best cinematography. He was nominated twice, for \u003cem>The Godfather Part III\u003c/em> and \u003cem>Zelig\u003c/em>, but not for the earlier works that had established him as a giant among his peers.\u003c/p>\n\u003cp>“For a while, I really didn’t know what to do with that movie,” he said of the original \u003cem>Godfather\u003c/em> in a 2002 \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=120386781\" target=\"_blank\" rel=\"noopener\">interview\u003c/a> on NPR’s \u003cem>Fresh Air\u003c/em>. “I finally decided this should have this brassy, yellow look to it. Don’t ask me why. It just felt right.”\u003c/p>\n\u003cp>The New York native got his start working in makeup. He worked on documentaries for a motion picture unit as part of his Air Force service during the Korean War.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He shot a total of eight films for Woody Allen and was dubbed the “Prince of Darkness” by fellow cinematographer Conrad Hall for his use of shadows. (Think of the scene in Allen’s \u003cem>Manhattan\u003c/em> where he and Diane Keaton duck out of the rain into the American Museum of Natural History, or the garage scenes in \u003cem>All the President’s Men\u003c/em>.)\u003c/p>\n\u003cp>“He’s an artist,” Allen \u003ca href=\"http://www.people.com/people/archive/article/0,,20086223,00.html\" target=\"_blank\" rel=\"noopener\">told\u003c/a> \u003cem>People\u003c/em> in 1983. “He’s got a great sense of humor. He taught me a lot.”\u003c/p>\n\u003cp>Willis’ last film was \u003cem>The Devil’s Own\u003c/em> in 1997, directed by Alan J. Pakula.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I got tired of trying to get actors out of trailers, and standing in the rain,” Willis said. \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=Gordon+Willis%2C+Cinematographer+Who+Gave+Woody+Allen+Films+Their+Look%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
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