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"content": "\u003cp>\u003cem>EDITOR'S NOTE: This article is about a virulently, racist song. Read no further if you wish to avoid racist imagery and slurs.\u003c/em>\u003c/p>\n\u003cp>\"[N****] Love A Watermelon Ha! Ha! Ha!\" merits the distinction of the most racist song title in America. Released in March, 1916, by Columbia Records it was written by actor Harry C. Browne and played on the familiar depiction of black people as mindless beasts of burden greedily devouring slices of watermelon.\u003c/p>\n\u003cp>I came across this gem while researching racial stereotypes. I was a bit conflicted on whether the song warranted a listen. Admittedly though, beneath my righteous indignation, I was rather curious how century-old, overt racism sounded and slightly amused by the farcical title. When I started the song, the music that tumbled from the speakers was that of the ever-recognizable jingle of the \u003ca href=\"http://www.youtube.com/watch?v=CZB6WXDuM1g\">ice cream truck\u003c/a> (For the record, not all ice cream trucks play this same song, but a great many of them do.)\u003c/p>\n\u003cp>As quickly as it began, the music paused, and this call-and-response ensued:\u003c/p>\n\u003cblockquote>\n\u003cp>Browne: \"You n******s quit throwin' them bones and come down and get your ice cream!\"\u003c/p>\n\u003cp>Black men (incredulously): \"Ice Cream?!?\"\u003c/p>\n\u003cp>Browne: \"Yes, ice cream! Colored man's ice cream: WATERMELON!!\"\u003c/p>\n\u003cp>My mouth dropped. The music immediately resumed and so did the racism. I soon realized that the ice cream truck song was forever ruined for me, especially once the chorus began:\u003c/p>\n\u003cp>N***** love a watermelon ha ha, ha ha!\u003c/p>\n\u003cp>N***** love a watermelon ha ha, ha ha!\u003c/p>\n\u003cp>For here, they're made with a half a pound of co'l\u003c/p>\n\u003cp>There's nothing like a watermelon for a hungry coon\u003c/p>\n\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=Ebh6x6Bze_0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Origin of the song\u003c/strong>\u003c/p>\n\u003cp>I wondered how such a prejudiced song could have become the anthem of ice cream and childhood summers. I learned that though Mr. Browne was fairly creative in his lyrics, the song's premise and its melody are nearly as old as America itself. As often happens with matters of race, something that is rather \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/03/23/291525991/when-vanilla-was-brown-and-how-we-came-to-see-it-as-white\">vanilla\u003c/a> in origin is coopted and sprinkled with malice along the way.\u003c/p>\n\u003cp>For his creation, Browne simply used the well-known melody of the early nineteenth-century song \"\u003ca href=\"http://www.youtube.com/watch?v=VsnZxfkkoKQ\">Turkey in the Straw\u003c/a>,\" which dates back to the even older and traditional British song \"\u003ca href=\"http://www.youtube.com/watch?v=etQ7knwsglU\">The (Old) Rose Tree\u003c/a>.\" The tune was brought to America's colonies by Scots-Irish immigrants who settled along the Appalachian Trail and added lyrics that mirrored their new lifestyle.\u003c/p>\n\u003cp>The first and natural inclination, of course, is to assume that the ice cream truck song is simply paying homage to \"Turkey in the Straw,\" but the melody reached the nation only after it was appropriated by traveling blackface minstrel shows. There is simply no divorcing the song from the dozens of decades it was almost exclusively used for coming up with new ways to ridicule, and profit from, black people.\u003c/p>\n\u003cp>\u003cstrong>Blackface minstrels steal the show\u003c/strong>\u003c/p>\n\u003cp>In the late 1820s, the music was given new lyrics that dripped with racism and titled \"\u003ca href=\"http://www.youtube.com/watch?v=C0i9XMyTw-o\">Zip Coon\u003c/a>.\" The blackface character of the same name parodied a free black man attempting to conform to white high society by dressing in fine clothes and using big words. Fifty years later in antebellum America, the character became an archetype of the black urbanite and propelled minstrel shows to the height of their popularity. Zip Coon was the city slicker counterpart to the dimwitted, rural blackface character whose name became infamous in 20th century America — Jim Crow. These two characters would often interact on stage and were the inspiration for the hugely successful Amos 'n' Andy act decades later.\u003c/p>\n\u003cp>The lyrics of \"Zip Coon\" follow the namesake through encounters with possums, playing the banjo, and courting a woman whose skin was so black that he calls her \"ol Suky blue skin.\" A century later, it was still celebrated and inspiring America's music. The recognizable melody aside, we've all sung a variation of the lyrics. The chorus goes:\u003c/p>\n\u003cblockquote>\n\u003cp>O zip a duden duden duden zip a duden day.\u003c/p>\n\u003c/blockquote>\n\u003cp>(If this sounds similar to the Academy Award winning \"\u003ca href=\"http://www.youtube.com/watch?v=LcxYwwIL5zQ\">Zip-A-Dee-Doo-Dah\u003c/a>,\" it's because that song was derived from this chorus)\u003c/p>\n\u003cp>At the turn of the twentieth century, one of the nation's \u003ca href=\"http://www.ferris.edu/htmls/news/jimcrow/index.htm\">most popular collectibles was the coon card\u003c/a> — a postcard with racist artwork, such as bug-eyed, clown-faced blacks eating watermelon. These items were essentially the racist version of trading cards and nearly ubiquitous. Browne meshed the theme of the popular coon cards with the familiar melody and voila: \"N***** Love a Watermelon Ha! Ha! Ha!\"\u003c/p>\n\u003cp>The ice cream cross-over happened concurrently. Nineteenth-century ice cream parlors played the popular minstrel songs of the day. After World War II, the advent of the automobile and the ensuing sprawl required parlors to devise a way to take their products to the customers. The ice cream truck was the solution and a music box was installed in them as a way to announce their presence in neighborhoods. Naturally, the traditional minstrel tunes of the previous century were employed to evoke the memorable parlor experience.\u003c/p>\n\u003cp>And this is the story of why our beloved ice cream truck plays blackface minstrel music that sends kids dashing into homes in a Pavlovian frenzy searching for money to buy a popsicle.\u003c/p>\n\u003cp>\u003cstrong>Race, ice cream and America\u003c/strong>\u003c/p>\n\u003cp>Here in the nation's capital, the cherry blossoms have come and gone. This means the warm weather will soon bring out the ice cream trucks, and I'll be confronted once again by its inconvenient truth. It's not new knowledge that matters of race permeate the depths of our history and infiltrate the most innocent of experiences, even the simple pleasure of ice cream (Who can forget Eddie Murphy's famous, NSFW routine about \u003ca href=\"http://www.youtube.com/watch?v=Vg-csjbwo5s\">the poor, black experience with ice cream trucks\u003c/a>?). However, when the reach of racism robs me of fond memories from my childhood, it feels intensely personal again.\u003c/p>\n\u003cp>Whenever I hear the music now, the antique voice laughing about n******s and watermelon fills my head. I can live with this, but what's to be done on the summer day when my children's eyes light up at the far-off sound of the familiar melody, and they dash in a frenzy towards me for change? Do I empower them with the history of our country or encourage the youthful exuberance induced by the ice cream truck? Is it my responsibility to foul the sweet taste of ice cream with their first taste of racism?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The answer is intellectually complex, but parental intuition provides clarity. When teeth fall out, I blame the dollar under their pillow on the tooth fairy. When presents appear overnight under the fir tree, I say Santa Claus is the culprit. And so when a song about n******s and watermelon fills the suburban air, I will smile and hand over money from my pocket. The sight of my children enjoying a Good Humor ice cream bar will fight back the racist song that lampooned black people who happened to be in good humor. The delivery of the cold hard truth can wait until another day.\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=Recall+That+Ice+Cream+Truck+Song%3F+We+Have+Unpleasant+News+For+You&utme=8(APIKey)9(MDA1OTI3MjQ5MDEyODUwMTE2MzM1YzNmZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Origin of the song\u003c/strong>\u003c/p>\n\u003cp>I wondered how such a prejudiced song could have become the anthem of ice cream and childhood summers. I learned that though Mr. Browne was fairly creative in his lyrics, the song's premise and its melody are nearly as old as America itself. As often happens with matters of race, something that is rather \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/03/23/291525991/when-vanilla-was-brown-and-how-we-came-to-see-it-as-white\">vanilla\u003c/a> in origin is coopted and sprinkled with malice along the way.\u003c/p>\n\u003cp>For his creation, Browne simply used the well-known melody of the early nineteenth-century song \"\u003ca href=\"http://www.youtube.com/watch?v=VsnZxfkkoKQ\">Turkey in the Straw\u003c/a>,\" which dates back to the even older and traditional British song \"\u003ca href=\"http://www.youtube.com/watch?v=etQ7knwsglU\">The (Old) Rose Tree\u003c/a>.\" The tune was brought to America's colonies by Scots-Irish immigrants who settled along the Appalachian Trail and added lyrics that mirrored their new lifestyle.\u003c/p>\n\u003cp>The first and natural inclination, of course, is to assume that the ice cream truck song is simply paying homage to \"Turkey in the Straw,\" but the melody reached the nation only after it was appropriated by traveling blackface minstrel shows. There is simply no divorcing the song from the dozens of decades it was almost exclusively used for coming up with new ways to ridicule, and profit from, black people.\u003c/p>\n\u003cp>\u003cstrong>Blackface minstrels steal the show\u003c/strong>\u003c/p>\n\u003cp>In the late 1820s, the music was given new lyrics that dripped with racism and titled \"\u003ca href=\"http://www.youtube.com/watch?v=C0i9XMyTw-o\">Zip Coon\u003c/a>.\" The blackface character of the same name parodied a free black man attempting to conform to white high society by dressing in fine clothes and using big words. Fifty years later in antebellum America, the character became an archetype of the black urbanite and propelled minstrel shows to the height of their popularity. Zip Coon was the city slicker counterpart to the dimwitted, rural blackface character whose name became infamous in 20th century America — Jim Crow. These two characters would often interact on stage and were the inspiration for the hugely successful Amos 'n' Andy act decades later.\u003c/p>\n\u003cp>The lyrics of \"Zip Coon\" follow the namesake through encounters with possums, playing the banjo, and courting a woman whose skin was so black that he calls her \"ol Suky blue skin.\" A century later, it was still celebrated and inspiring America's music. The recognizable melody aside, we've all sung a variation of the lyrics. The chorus goes:\u003c/p>\n\u003cblockquote>\n\u003cp>O zip a duden duden duden zip a duden day.\u003c/p>\n\u003c/blockquote>\n\u003cp>(If this sounds similar to the Academy Award winning \"\u003ca href=\"http://www.youtube.com/watch?v=LcxYwwIL5zQ\">Zip-A-Dee-Doo-Dah\u003c/a>,\" it's because that song was derived from this chorus)\u003c/p>\n\u003cp>At the turn of the twentieth century, one of the nation's \u003ca href=\"http://www.ferris.edu/htmls/news/jimcrow/index.htm\">most popular collectibles was the coon card\u003c/a> — a postcard with racist artwork, such as bug-eyed, clown-faced blacks eating watermelon. These items were essentially the racist version of trading cards and nearly ubiquitous. Browne meshed the theme of the popular coon cards with the familiar melody and voila: \"N***** Love a Watermelon Ha! Ha! Ha!\"\u003c/p>\n\u003cp>The ice cream cross-over happened concurrently. Nineteenth-century ice cream parlors played the popular minstrel songs of the day. 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"title": "Why Do You Stay in the Bay Area?",
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"content": "\u003cp>A recent \u003ca target=\"_self\" href=\"http://www.gallup.com/poll/168770/half-illinois-connecticut-move-elsewhere.aspx\" rel=\"noopener\">Gallup poll\u003c/a> found that 14 percent of Californians plan on moving to a new state within the next 12 months. And 34 percent of residents would \u003cem>like\u003c/em> \u003ca href=\"http://ww2.kqed.org/news/2014/05/12/why-do-you-stay-in-the-bay-area-whyistay/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/05/12/why-do-you-stay-in-the-bay-area-whyistay/\" target=\"_self\" title=\"Why Do You Stay in the Bay Area?\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cdiv>\r\n\u003cp>Tag your photos on Instagram or Twitter with #whyistay. Be sure to include which Bay Area city you live in.\u003c/p>\r\n\u003c/div>\r\n\u003cp>A recent \u003ca target=\"_self\" href=\"http://www.gallup.com/poll/168770/half-illinois-connecticut-move-elsewhere.aspx\" rel=\"noopener\">Gallup poll\u003c/a> found that 14 percent of Californians plan on moving to a new state within the next 12 months. And 34 percent of residents would \u003cem>like\u003c/em> \u003ca href=\"http://ww2.kqed.org/news/2014/05/12/why-do-you-stay-in-the-bay-area-whyistay/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cp>Farley Mowat, the Canadian author of the nature classic \u003cem>Never Cry Wolf\u003c/em>, has died at age 92, Canadian media report.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.thestar.com/entertainment/books/2014/05/07/farley_mowat_acclaimed_canadian_author_dead_at_92.html\">The Star\u003c/a> \u003c/em>quotes Mowat’s brother, John, as saying the acclaimed writer and environmentalist died Tuesday, just a few days shy of his 93rd birthday.\u003c/p>\n\u003cp>\u003ca href=\"http://m.theglobeandmail.com/news/national/acclaimed-canadian-author-farley-mowat-dead-at-92/article18511064/?service=mobile\">\u003cem>The Globe and Mail\u003c/em> writes:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“In a 50-plus-year career as a freelance writer, he wrote more than 40 books including several memoirs, and won many prizes and honours including the Governor General’s Literary Award, the Order of Canada and several honorary degrees. Even as recently as July, 2009, Nicholas D. Kristof, an op-ed columnist for the New York Times, listed Mr. Mowat’s \u003cem>The Dog who Wouldn’t Be\u003c/em> (first published in 1957) as one of the best children’s books of all time.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Besides being a best-selling author and “one of the elder statesmen of Canadian literature,” the \u003cem>Globe and Mail\u003c/em> describes Mowat as “a trickster, a ferocious imp with a silver pen, an ardent environmentalist who opened up the idea of the North to curious southerners, a public clown who hid his shyness behind flamboyant rum-swigging and kilt-flipping, and a passionate polemicist who blurred the lines between fiction and facts to dramatize his cause. ”\u003c/p>\n\u003cp>\u003cem>The Star\u003c/em> says:\u003c/p>\n\u003cblockquote>\n\u003cp>“Mowat has never been one to back away from controversy. A 2012 Toronto Star \u003ca href=\"http://www.thestar.com/entertainment/books/2012/05/11/farley_mowats_legacy_our_supreme_storyteller.html\">profile\u003c/a> of the author of dozens of books — starting with \u003cem>People of the Deer\u003c/em>, published in 1952, to his memoirs \u003cem>Otherwise\u003c/em>, published in 2008, and \u003cem>Eastern Passage\u003c/em>in 2010 — described him as still rising at 6:30 to walk his dog, and begin his writing after breakfast with his wife of 55 years, Claire.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In his advanced years, Mowat continued to actively campaign to protect the Canadian wilderness he so loved. \u003ca href=\"http://www.cbc.ca/thecurrent/episode/2014/05/01/wifi-in-some-of-canadas-national-parks-gets-a-fuzzy-reception-from-campers/\">He was recently quoted by CBC Radio\u003c/a> voicing his opposition to extending wifi service to the country’s national parks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My thoughts can be expressed quite simply. I think it is a disastrous, quite stupid, idiotic concept, and should be eliminated immediately,” he told the Canadian Broadcast Corp.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have very strong feelings that national parks, provincial parks, any kind of parks, that are theoretically set up to provide for the protection of nature, in some form or another, should be respected absolutely and ultimately and human beings should be kept out of them as much as possible,” he 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=Author+Farley+Mowat%2C+Who+Wrote+%27Never+Cry+Wolf%2C%27+Dies+At+92+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The writer of books including \u003cem>People of the Deer\u003c/em> and \u003cem>The Dog Who Wouldn't Be\u003c/em>, was also an ardent campaigner for environmental causes well into his later years.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Farley Mowat, the Canadian author of the nature classic \u003cem>Never Cry Wolf\u003c/em>, has died at age 92, Canadian media report.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.thestar.com/entertainment/books/2014/05/07/farley_mowat_acclaimed_canadian_author_dead_at_92.html\">The Star\u003c/a> \u003c/em>quotes Mowat’s brother, John, as saying the acclaimed writer and environmentalist died Tuesday, just a few days shy of his 93rd birthday.\u003c/p>\n\u003cp>\u003ca href=\"http://m.theglobeandmail.com/news/national/acclaimed-canadian-author-farley-mowat-dead-at-92/article18511064/?service=mobile\">\u003cem>The Globe and Mail\u003c/em> writes:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“In a 50-plus-year career as a freelance writer, he wrote more than 40 books including several memoirs, and won many prizes and honours including the Governor General’s Literary Award, the Order of Canada and several honorary degrees. Even as recently as July, 2009, Nicholas D. Kristof, an op-ed columnist for the New York Times, listed Mr. Mowat’s \u003cem>The Dog who Wouldn’t Be\u003c/em> (first published in 1957) as one of the best children’s books of all time.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Besides being a best-selling author and “one of the elder statesmen of Canadian literature,” the \u003cem>Globe and Mail\u003c/em> describes Mowat as “a trickster, a ferocious imp with a silver pen, an ardent environmentalist who opened up the idea of the North to curious southerners, a public clown who hid his shyness behind flamboyant rum-swigging and kilt-flipping, and a passionate polemicist who blurred the lines between fiction and facts to dramatize his cause. ”\u003c/p>\n\u003cp>\u003cem>The Star\u003c/em> says:\u003c/p>\n\u003cblockquote>\n\u003cp>“Mowat has never been one to back away from controversy. A 2012 Toronto Star \u003ca href=\"http://www.thestar.com/entertainment/books/2012/05/11/farley_mowats_legacy_our_supreme_storyteller.html\">profile\u003c/a> of the author of dozens of books — starting with \u003cem>People of the Deer\u003c/em>, published in 1952, to his memoirs \u003cem>Otherwise\u003c/em>, published in 2008, and \u003cem>Eastern Passage\u003c/em>in 2010 — described him as still rising at 6:30 to walk his dog, and begin his writing after breakfast with his wife of 55 years, Claire.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In his advanced years, Mowat continued to actively campaign to protect the Canadian wilderness he so loved. \u003ca href=\"http://www.cbc.ca/thecurrent/episode/2014/05/01/wifi-in-some-of-canadas-national-parks-gets-a-fuzzy-reception-from-campers/\">He was recently quoted by CBC Radio\u003c/a> voicing his opposition to extending wifi service to the country’s national parks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My thoughts can be expressed quite simply. I think it is a disastrous, quite stupid, idiotic concept, and should be eliminated immediately,” he told the Canadian Broadcast Corp.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have very strong feelings that national parks, provincial parks, any kind of parks, that are theoretically set up to provide for the protection of nature, in some form or another, should be respected absolutely and ultimately and human beings should be kept out of them as much as possible,” he 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=Author+Farley+Mowat%2C+Who+Wrote+%27Never+Cry+Wolf%2C%27+Dies+At+92+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In San Francisco’s Mission District, Evicted Artists Hold Garage Sale to Pay for Move",
"headTitle": "In San Francisco’s Mission District, Evicted Artists Hold Garage Sale to Pay for Move | KQED",
"content": "\u003cp>It’s no secret that San Francisco’s booming real estate market has made it challenging for \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/series/priced-out/\" rel=\"noopener\">anyone living on the margin\u003c/a>. <a target=_self href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\" \u003ca href=\"http://ww2.kqed.org/news/san-francisco-mission-district-artists-evicted-from-longtime-home\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/san-francisco-mission-district-artists-evicted-from-longtime-home\" target=\"_self\" title=\"In San Francisco’s Mission District, Evicted Artists Hold Garage Sale to Pay for Move\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cdiv>\r\n\u003cp>The sticker on each item for sale at the garage sale held by longtime Mission District artists Yolanda Lopez and her son Rio Yañez. (Lydia Chávez/Mission Local)\u003c/p>\r\n\u003c/div>\r\n\u003cp>It's no secret that San Francisco's booming real estate market has made it challenging for \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/series/priced-out/\" rel=\"noopener\">anyone living on the margin\u003c/a>. <a target=_self href="http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom" \u003ca href=\"http://ww2.kqed.org/news/san-francisco-mission-district-artists-evicted-from-longtime-home\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cp>Last week, San Francisco Art Institute (SFAI) President Charles Desmarais sent an email to part-time and temporary faculty about a forthcoming vote over joining the Service Employees International Union (SEIU). SEIU is most widely known for organizing labor unions for healthcare workers, facilities workers, and public services workers; but in recent months the organization has also been working with visiting faculty at Bay Area art schools to create a union for part-time college educators. \u003c/p>\n\u003cp>According to Desmarais’ email, the SEIU filed a petition with the National Labor Relations Board seeking an election to determine if part-time and visiting faculty at the Institute wants to be represented. (Disclosure: Having taught as visiting faculty at SFAI last semester, I am among those eligible to vote.) Ballots are scheduled to be mailed out on May 12.\u003c/p>\n\u003cp>Mills College is also voting presently and Mitchell Schwarzer, President of the Faculty Senate at California College of the Arts recently announced a special meeting scheduled for this evening for all un-ranked faculty “to provide some background information and, more importantly, a forum for discussion on the SEIU union drive.” \u003c/p>\n\u003cp>One longtime educator who wished to remain anonymous surmised, “This is the first time CCA has held a meeting solely for adjuncts in my experience. The union drive is having an impact.”\u003c/p>\n\u003cp>Last year, the death of Duquesne University adjunct Margaret Mary Vojtko sparked a national labor debate around conditions for part-time educators, as \u003ca href=\"http://www.npr.org/2013/09/22/224946206/adjunct-professor-dies-destitute-then-sparks-debate\">reported online\u003c/a> by NPR.org. Vojtko had been part-time faculty for 25 years, and at the time of her death she was essentially destitute, lacking insurance to cover extensive medical bills, and nearly homeless. Her tale brought to light the hardships facing part-time faculty and the fact that extreme stories of survival, from living without healthcare to selling plasma to buy food, are frankly commonplace among her counterparts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a radical shift in education in the 1970s, part-time faculty currently represent three-quarters of college instructors and the vast majority of academia. Such positions typically pay between $20,000 and $25,000 annually, and the marketplace for those essentially unstable jobs is becoming increasingly competitive, resulting in educators rallying for new contracts from one semester to the next and/or traveling extreme distances for gigs at remote schools. Meanwhile, visiting educators are paid minimally without benefits or retirement packages, and have little recourse when contracts aren’t renewed. \u003c/p>\n\u003cp>So then, why do it at all? For many the lure of a permanent position, the prestige of the institution and, at the fore, engagement with young minds and scholars invested in the same field, continue to attract new faculty. But the prevalence of horror stories like Vojtko’s has led to a crossroads in academia, with unionization as a viable route to take. \u003c/p>\n\u003cp>The logic behind a push to unionize multiple schools in the region, as noted in an \u003ca href=\"http://chronicle.com/article/Power-in-Numbers/145863?cid=megamenu\">article\u003c/a> in \u003cem>The Chronicle of Higher Education\u003c/em>, is that “sufficient union saturation of a given local labor market will not only produce big gains at unionized colleges,” it will also pressure non-unionized colleges to improve conditions in the interest of remaining competitive. \u003c/p>\n\u003cp>“The approach seeks to shift labor-market dynamics, turning a buyer’s market in which colleges have broad leeway to set employment terms into a seller’s market in which adjuncts can take the highest bid for their services,” states the article. \u003c/p>\n\u003cp>Also, conventional wisdom argues that college administrations are less resistant to the formation of unions when competing schools also adhere to union demands.\u003c/p>\n\u003cp>Bay Area artist, writer and educator Christian Nagler supports unionizing visiting faculty at SFAI, where he has taught since 2010. Previous political work with a teachers’ union in El Salvador taught him “that organized scholars/writers/artists can have a good, powerful influence.”\u003c/p>\n\u003cp>Other perspectives are mixed. One educator spoke on the condition of anonymity about being uncomfortable with SEIU’s aggressive campaign after organizers came to her home. \u003c/p>\n\u003cp>“I’m very invested in collective power, but in my experience the part-time faculty union at my school often serves to maintain and intensify a deep fissure between full-time and part-time faculty,” said Shane Aslan Selzer, an artist and union educator at Parsons the New School for Design in New York. “As a small fine arts department, this fissure has the potential to cripple us intellectually and creatively.”\u003c/p>\n\u003cp>Selzer’s sentiments echo those in a second email sent from Desmarais to SFAI faculty that included the header “Why I encourage you to vote No to joining SEIU.” In the email Desmarais noted, “There is no guarantee that SEIU would negotiate any better arrangement than could be achieved by working directly and collegially with the SFAI administration. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, San Francisco Art Institute (SFAI) President Charles Desmarais sent an email to part-time and temporary faculty about a forthcoming vote over joining the Service Employees International Union (SEIU). SEIU is most widely known for organizing labor unions for healthcare workers, facilities workers, and public services workers; but in recent months the organization has also been working with visiting faculty at Bay Area art schools to create a union for part-time college educators. \u003c/p>\n\u003cp>According to Desmarais’ email, the SEIU filed a petition with the National Labor Relations Board seeking an election to determine if part-time and visiting faculty at the Institute wants to be represented. (Disclosure: Having taught as visiting faculty at SFAI last semester, I am among those eligible to vote.) Ballots are scheduled to be mailed out on May 12.\u003c/p>\n\u003cp>Mills College is also voting presently and Mitchell Schwarzer, President of the Faculty Senate at California College of the Arts recently announced a special meeting scheduled for this evening for all un-ranked faculty “to provide some background information and, more importantly, a forum for discussion on the SEIU union drive.” \u003c/p>\n\u003cp>One longtime educator who wished to remain anonymous surmised, “This is the first time CCA has held a meeting solely for adjuncts in my experience. The union drive is having an impact.”\u003c/p>\n\u003cp>Last year, the death of Duquesne University adjunct Margaret Mary Vojtko sparked a national labor debate around conditions for part-time educators, as \u003ca href=\"http://www.npr.org/2013/09/22/224946206/adjunct-professor-dies-destitute-then-sparks-debate\">reported online\u003c/a> by NPR.org. Vojtko had been part-time faculty for 25 years, and at the time of her death she was essentially destitute, lacking insurance to cover extensive medical bills, and nearly homeless. Her tale brought to light the hardships facing part-time faculty and the fact that extreme stories of survival, from living without healthcare to selling plasma to buy food, are frankly commonplace among her counterparts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a radical shift in education in the 1970s, part-time faculty currently represent three-quarters of college instructors and the vast majority of academia. Such positions typically pay between $20,000 and $25,000 annually, and the marketplace for those essentially unstable jobs is becoming increasingly competitive, resulting in educators rallying for new contracts from one semester to the next and/or traveling extreme distances for gigs at remote schools. Meanwhile, visiting educators are paid minimally without benefits or retirement packages, and have little recourse when contracts aren’t renewed. \u003c/p>\n\u003cp>So then, why do it at all? For many the lure of a permanent position, the prestige of the institution and, at the fore, engagement with young minds and scholars invested in the same field, continue to attract new faculty. But the prevalence of horror stories like Vojtko’s has led to a crossroads in academia, with unionization as a viable route to take. \u003c/p>\n\u003cp>The logic behind a push to unionize multiple schools in the region, as noted in an \u003ca href=\"http://chronicle.com/article/Power-in-Numbers/145863?cid=megamenu\">article\u003c/a> in \u003cem>The Chronicle of Higher Education\u003c/em>, is that “sufficient union saturation of a given local labor market will not only produce big gains at unionized colleges,” it will also pressure non-unionized colleges to improve conditions in the interest of remaining competitive. \u003c/p>\n\u003cp>“The approach seeks to shift labor-market dynamics, turning a buyer’s market in which colleges have broad leeway to set employment terms into a seller’s market in which adjuncts can take the highest bid for their services,” states the article. \u003c/p>\n\u003cp>Also, conventional wisdom argues that college administrations are less resistant to the formation of unions when competing schools also adhere to union demands.\u003c/p>\n\u003cp>Bay Area artist, writer and educator Christian Nagler supports unionizing visiting faculty at SFAI, where he has taught since 2010. Previous political work with a teachers’ union in El Salvador taught him “that organized scholars/writers/artists can have a good, powerful influence.”\u003c/p>\n\u003cp>Other perspectives are mixed. One educator spoke on the condition of anonymity about being uncomfortable with SEIU’s aggressive campaign after organizers came to her home. \u003c/p>\n\u003cp>“I’m very invested in collective power, but in my experience the part-time faculty union at my school often serves to maintain and intensify a deep fissure between full-time and part-time faculty,” said Shane Aslan Selzer, an artist and union educator at Parsons the New School for Design in New York. “As a small fine arts department, this fissure has the potential to cripple us intellectually and creatively.”\u003c/p>\n\u003cp>Selzer’s sentiments echo those in a second email sent from Desmarais to SFAI faculty that included the header “Why I encourage you to vote No to joining SEIU.” In the email Desmarais noted, “There is no guarantee that SEIU would negotiate any better arrangement than could be achieved by working directly and collegially with the SFAI administration. And without the burden of Union rules, requirements, dues, initiation fees, etc.”\u003c/p>\n\u003cp>It is hard to know if collective bargaining has the potential to create a shift in working conditions for part-time faculty, but the conversations being generated seem to represent change in itself. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“For me, in addition to a pragmatic push, it’s been an experiment to see if, and what it takes, for artists to organize, to be able to see themselves as part of a larger labor struggle, and to begin to remake the institutions they serve,” said Nagler. “Now that we’re heading towards an election, it will be interesting to see what sort of issues continue to be at the fore among the faculty — God knows it’s been complicated so far! A balance between strategic momentum and making space for idiosyncratic process.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nobel Prize-winning Colombian novelist Gabriel Garcia Marquez, author of \u003cem>One Hundred Years of Solitude\u003c/em>, has died in Mexico City. He was 87.\u003c/p>\n\u003cp>The Associated Press says “Garcia Marquez’s magical realist novels and short stories exposed tens of millions of readers to Latin America’s passion, superstition, violence and inequality.”\u003c/p>\n\u003cblockquote>\n\u003cp>“Widely considered the most popular Spanish-language writer since Miguel de Cervantes in the 17th century, Garcia Marquez achieved literary celebrity that spawned comparisons to Mark Twain and Charles Dickens.”\u003c/p>\n\u003cp>“His flamboyant and melancholy works outsold everything published in Spanish except the Bible. The epic 1967 novel “One Hundred Years of Solitude sold more than 50 million copies in more than 25 languages.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.latimes.com/books/jacketcopy/la-et-jc-gabriel-garcia-marquez-nobel-prize-winning-author-dies-20140405,0,3445782.story#ixzz2zB6GPLmt\">The Los Angeles Times says:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“A cause of death was not immediately annnounced, but Garcia Marquez had been in failing health for some time. He was released from the hospital just over a week ago.\u003c/p>\n\u003cp>“Garcia Marquez’s death represents the passing of one of the world’s greatest living authors, and the loss of a powerful public intellectual whose opinions on Cuba, military dictatorship and Latin American cultural autonomy made front-page news.\u003c/p>\n\u003cp>“The news was met with an outpouring of grief and reverence for the writer known to his admirers simply as ‘Gabo,’ and who was often compared to Hispanic literature’s other titan, ‘Don Quixote’ author Miguel de Cervantes. More than any other author, Garcia Marquez fueled the post-World War II popularizing of Latin America literature known as the ‘Boom.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>NPR’s Mandalit Del Barco has a more detailed portrait of the author and his life \u003ca href=\"http://preview.npr.org/templates/story/story.php?live=1&storyId=156561881\">here.\u003c/a> \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=Nobel+Prize-Winning+Author+Gabriel+Garcia+Marquez+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nobel Prize-winning Colombian novelist Gabriel Garcia Marquez, author of \u003cem>One Hundred Years of Solitude\u003c/em>, has died in Mexico City. He was 87.\u003c/p>\n\u003cp>The Associated Press says “Garcia Marquez’s magical realist novels and short stories exposed tens of millions of readers to Latin America’s passion, superstition, violence and inequality.”\u003c/p>\n\u003cblockquote>\n\u003cp>“Widely considered the most popular Spanish-language writer since Miguel de Cervantes in the 17th century, Garcia Marquez achieved literary celebrity that spawned comparisons to Mark Twain and Charles Dickens.”\u003c/p>\n\u003cp>“His flamboyant and melancholy works outsold everything published in Spanish except the Bible. The epic 1967 novel “One Hundred Years of Solitude sold more than 50 million copies in more than 25 languages.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.latimes.com/books/jacketcopy/la-et-jc-gabriel-garcia-marquez-nobel-prize-winning-author-dies-20140405,0,3445782.story#ixzz2zB6GPLmt\">The Los Angeles Times says:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“A cause of death was not immediately annnounced, but Garcia Marquez had been in failing health for some time. He was released from the hospital just over a week ago.\u003c/p>\n\u003cp>“Garcia Marquez’s death represents the passing of one of the world’s greatest living authors, and the loss of a powerful public intellectual whose opinions on Cuba, military dictatorship and Latin American cultural autonomy made front-page news.\u003c/p>\n\u003cp>“The news was met with an outpouring of grief and reverence for the writer known to his admirers simply as ‘Gabo,’ and who was often compared to Hispanic literature’s other titan, ‘Don Quixote’ author Miguel de Cervantes. More than any other author, Garcia Marquez fueled the post-World War II popularizing of Latin America literature known as the ‘Boom.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>NPR’s Mandalit Del Barco has a more detailed portrait of the author and his life \u003ca href=\"http://preview.npr.org/templates/story/story.php?live=1&storyId=156561881\">here.\u003c/a> \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=Nobel+Prize-Winning+Author+Gabriel+Garcia+Marquez+Dies+At+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last fall, San Francisco artist and curator Rene Yañez and his family were \u003ca href=\"http://www.sfbg.com/2013/10/11/no-room-left-san-francisco-artist-who-helped-make-mission-what\">evicted under the Ellis Act\u003c/a> after living in their home for 35 years. A brief overview of Yañez’s cultural contributions includes the founding of nonprofit arts organization Galería de la Raza, the establishment of Dia de los Muertos, one of the city’s premiere traditions, and the first Bay Area presentation of Frida Kahlo’s work in 1978, after it was initially rejected by the San Francisco Museum of Modern Art.\u003c/p>\n\u003cp>In response to Yañez’s unceremonious eviction, performance artist Guillermo Gómez-Peña published an \u003ca href=\"https://docs.google.com/document/d/1pwjXeyT88TNdUgo8ZeNlBGAH-3GIKmloeLTqyxYVkm4/edit?pli=1\">open letter\u003c/a> to Yañez expressing his outrage over the city’s changing values. “This is the new San Francisco,” wrote Gómez-Peña, “a city that’s been sold to the seven most powerful internet corporations, and now you’ve become collateral damage, just some nuisance to be pushed out of the way by yet another greedy landlord marching along to the triumphant fanfares of the not-so-virtual takeover of our city.” In the time since, many others, including numerous artists, have been evicted or have simply priced out of their homes and studios.\u003c/p>\n\u003cp>As these stories emerge, some point out that the Bay Area has always been widely known as a transitory space for artists. Many have lived here for a time, then moved on to cities like Los Angeles or New York, where the art markets are more aggressive. Though opportunities for commercial success have always been somewhat limited in the Bay Area, artists and other creative types have chosen to move here for a variety of reasons: unparalleled natural beauty, divine weather, progressive politics, and, at various times until recently, relatively affordable live/work space, among other reasons. The appeal of the Bay Area, it was once explained to me by an artist, was that it allowed for and even encouraged risk-taking and experimentation, in ways that other art centers like New York didn’t, for lack of space and high cost of living.\u003c/p>\n\u003cp>San Francisco, and indeed the greater Bay Area, has seen several iterations of booms and busts in its relatively short history. Invariably these periods are compared to the Gold Rush, the historic touchstone of wild prosperity for a select few and grave adversity for everyone else. As far as the financial implications go, the writing is on the wall — social media spawns new \u003ca href=\"http://www.thebolditalic.com/articles/4451-so-this-housing-flier-is-depressing\">stories about outrageous San Francisco rents\u003c/a> every day, with one-bedroom apartments in the Mission going for as much as $5,000 a month, depending on who you ask.\u003c/p>\n\u003cp>San Francisco photographer Scott Hampton recently parodied the situation in \u003ca href=\"http://www.thebolditalic.com/articles/4637-parody-photos-of-the-sf-rental-market-are-darkly-funny\">a photo essay\u003c/a> on \u003ci>The Bold Italic\u003c/i>. Hampton’s images feature For Rent signs displayed on planter boxes and manhole covers, among other marginalized spaces around the city. An accompanying live Craigslist ad describes a dumpster as a “33 sq. ft. waterfront condo.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Popularized on Facebook, an earlier project titled \u003ca href=\"https://www.facebook.com/EverythingMustGoSanFrancisco\">\u003ci>Everything Must Go: San Francisco\u003c/i>\u003c/a> also posted fictitious notices on Craigslist under items for sale, lost items and missed connections. One ad, filed under “wanted by owner” sought the “ORIGINAL Mission District ($1).” Documentation of each ad is \u003ca href=\"http://everythingmustgosanfrancisco.tumblr.com/\">archived on Tumblr\u003c/a>.\u003c/p>\n\u003cp>With signs of a runaway real estate boom in full effect, the conversation shouldn’t be about vilifying technology sector workers — a common refrain — but instead questioning the corporate sector’s ability to absorb public resources while deftly avoiding reciprocal civic investment. In a \u003ca href=\"http://www.bloomberg.com/news/2014-03-12/cash-abroad-rises-206-billion-as-apple-to-ibm-avoid-tax.html\">March 12, 2014 article\u003c/a> \u003ci>Bloomberg\u003c/i> reported, “The largest U.S.-based companies, including Microsoft, Apple, and Google, added $206 billion to their stockpiles of offshore profits last year, parking earnings in low-tax countries until Congress gives them a reason not to.” The same article further estimated that this money amounts to an “annual revenue loss to the U.S. that ranges from $30 billion to $90 billion.” Simultaneously, there is no sense of these companies taking a corresponding philanthropic interest in the communities that house their workers or their headquarters — no massive influx of cash for public resources, such as transportation, or education, or housing.\u003c/p>\n\u003cp>Though one can argue that San Francisco has always been a city in transition, it has also long been defined by its commitment to cultural diversity and creative communities. The city’s investment in these values has, in fact, nurtured some of the most important cultural movements in the country. As the city evolves to reflect different values, privileging wealth and private enterprise, what will become of the civic responsibility to nurture and support artists and art communities at the grassroots level?\u003c/p>\n\u003cp>I contacted several current and former Bay Area artists and curators about San Francisco’s recent shifts, changing values and artist exodus — their perspectives are profiled here.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/31/rennypritikin.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-right: 10px;float: left\" alt=\"renny pritikin\">\u003c/p>\n\u003ch2>Renny Pritikin\u003c/h2>\n\u003cp>In 2010 longstanding Bay Area curator Renny Pritikin posted an \u003ca href=\"http://openspace.sfmoma.org/2010/02/artists-whove-left-town/\">open-ended article\u003c/a> on \u003ci>SFMOMA Open Space\u003c/i> that listed artists who’d left and those who’d stayed in the area up to that point. The article and resulting commentary invoked a healthy dialog about the Bay Area’s art scene — to the extent that readers continued to read and post comments two years after the initial publication. Now four years later, the extensive comments read like a pre-apocalyptic time capsule, with little anticipation of the cultural shifts evident today. There is scant mention of Facebook or Twitter. It represents, as a social document, the precipice of major changes in the cultural landscape — before the pervasive influence of social media on our everyday lives and the booming presence of the tech industrial complex.\u003c/p>\n\u003cp>“I see the current situation as exceptional, an earthquake as opposed to daily miniscule tremors in the usual economy of artists making the decision to stay or go,” Pritkin said recently. “I don’t feel, as some of my friends do, that this bubble too shall pass like the last one. This feels permanent.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/04/01/lisadent.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-left: 10px;float: right\" alt=\"lisa dent by carolyn lambert\">\u003c/p>\n\u003ch2>Lisa Dent\u003c/h2>\n\u003cp>Former San Francisco gallerist Lisa Dent, who operated an eponymous gallery in the city from 2004 to 2008, has observed the shift in wealth and its impact on artists across the country from a different perspective. As Director of Resources and Award Programs at Creative Capital, a funding organization that supports artists, she says, “I just don’t see room for experimentation. Creativity takes time and space and does not always bear financial fruit within a fiscal year. I find many artists to be very impatient, causing them to present work too quickly or get into agreements that are financially based and do nothing to push their work forward in formal, intellectual or conceptual ways. Past ideas just get regurgitated and we all learn nothing in the process.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/31/glenhelfand.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-right: 10px;float: left\" alt=\"glen helfand\">\u003c/p>\n\u003ch2>Glen Helfand\u003c/h2>\n\u003cp>Longtime Bay Area art critic, curator and educator Glen Helfand moved to San Francisco in the 1980s and began participating in local culture in the 1990s. In the time since, he has written for \u003ci>SF Weekly\u003c/i>, \u003ci>Bay Guardian\u003c/i>, and \u003ci>Artforum\u003c/i>; in 2002 he coined the term “Mission School” when writing for the \u003ci>Guardian\u003c/i> about Barry McGee, Margaret Kilgallen and Chris Johanson, artists whose work today is synonymous with San Francisco, and indeed the Mission, all over the world. Helfand has also organized shows in many venues, most recently a series of exhibitions at the Asian Art Museum of San Francisco, and has taught at several major art schools, including California College of the Arts, Mills College, and San Francisco Art Institute, where he organized public programs and lectures for the last eight years. After his rent more than doubled last year, Helfand moved to Oakland after failing to find anything he could afford in the city. “It was sobering to realize that my cultural contributions didn’t mean anything when it came to a place to live,” he said. “The thing I keep thinking about now is that question of what keeps me here if there is such a loss of what might be termed an artistic/alternative culture soul to San Francisco. Living outside the city, I have to wonder about what it is that will keep me coming back.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/04/01/andrewshoultz.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-left: 10px;float: right\" alt=\"\">\u003c/p>\n\u003ch2>Andrew Schoultz\u003c/h2>\n\u003cp>Some artists are reluctant to talk about displacement because it runs counter to a sense of ruthless optimism inherent to the Bay Area. Many are committed to seeing positive possibilities in recent changes, even if these possibilities come at the expense of others. Artist Andrew Schoultz, a former fixture in the San Francisco art scene, spoke about this pervasive disinterest in negativity in a telephone conversation for this article. “A lot of people would say, you know, ‘Get over it. This is happening.’ Only when someone is personally affected or someone they know is displaced does the conversation change.”\u003c/p>\n\u003cp>Schoultz was evicted from his first San Francisco apartment in the 1990s boom and persisted in the city for 17 years before opting to move to Los Angeles earlier this year. “San Francisco \u003ca href=\"http://blog.sfgate.com/cityinsider/2013/04/21/s-f-names-2013-year-of-the-child-despite-having-so-few-of-them/\">isn’t conducive to having a family\u003c/a>,” he said. “The city’s turned into a culture of extreme entitlement. There isn’t a philanthropic interest, it’s cutthroat with an air of privilege that wasn’t part of the first dot boom. Even the murals that some companies commission for their offices are a low investment in the community: if they change their minds later, they figure they can just paint over them.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/04/01/ruznichagler.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-right: 10px;float: left\" alt=\"josh hagler and maja ruznic\">\u003c/p>\n\u003ch2>Josh Hagler and Maja Ruznic\u003c/h2>\n\u003cp>This sense of the longstanding art community’s disposability is widely shared by some and dismissed by others. Artist Josh Hagler, who earlier this year moved from San Francisco to Los Angeles with artist Maja Ruznic, sees it as changing values, and notes that if he belabored the point on Facebook, some friends would respond with distanced explanations of economics. “A common sentiment, ‘I guess ‘they’ will just have to learn to adapt’ seemed to afford them distance from feeling and experiencing what is going on right now on the ground.”\u003c/p>\n\u003cp>For Ruznic, whose family arrived in the city in the 1990s as refugees from Bosnia, San Francisco is home. Her mother and sister still live in the same rent-controlled apartment from when they arrived. The stability of their living arrangement is a source of constant concern for the artist, who admits to struggling so hard to survive in the Bay Area that she supplemented her rent with credit cards. It is “a sad unfortunate situation facing not only artists, but all those not in the tech world,” she said.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/31/WalterRobinson.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-left: 10px;float: right\" alt=\"walter robinson\">\u003c/p>\n\u003ch2>Walter Robinson\u003c/h2>\n\u003cp>Longtime San Francisco artist Walter Robinson, who has called the Bay Area home his entire life, is planning to move to New Mexico later this year. “Although we could stay, we are not liking what San Francisco and the Bay Area have become,” he said. “Money is an issue insofar as we are at an age where the numbers have to make better sense to get us further down the road. This is a young and wealthy person’s town now… I’ve seen it go through all these changes over the years, but things have really changed here in the last year. People ask me, ‘Aren’t you going to miss the Bay Area?’ And I say that I already do. It’s not the same Bay Area it once was before.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/31/reneyanez.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-right: 10px;float: left\" alt=\"rene yanez\">\u003c/p>\n\u003ch2>Rene Yañez\u003c/h2>\n\u003cp>Rene Yañez believes city arts leadership needs to take a position about the changes confronting artists and nonprofit cultural organizations. “I want to see the San Francisco Art Commission take a public stance on what is happening to the art community,” he said. “There is a long history of San Francisco and the city supporting artists — the arts commission should be tackling this issue as part of their agenda, organizing panels with artists and giving the community a chance to have their say. We need public events with artists and the new tech community to figure out how to create an audience and to discuss the future of San Francisco’s culture.” Asked if he imagines leaving the city, he said, “I am trying very hard not to leave, but spaces in the Mission have now become a status symbol.”\u003c/p>\n\u003ch2>Moving Forward\u003c/h2>\n\u003cp>Perhaps because the Bay Area has seen artists come and go habitually over the years, it’s tempting to assume a kind of stoicism in the face of the present exodus. Certainly there are many great artists here still. The cultural community remains tight knit, if somewhat polarized by the debate about how to consider recent shifts. Many are focused on the immediacy of so much displacement, including an organizing entity online called \u003ca href=\"https://defendthebayarea.org/\">Defend the Bay Area\u003c/a>, which offers to coordinate assemblies and other events for a kick-off week of actions through April 5, 2014. Others are interested in exploring an equitable relationship between art and technology. An open Facebook group called \u003ca href=\"https://www.facebook.com/groups/651492394900813/#_=_\">Re-engineering: Art/Tech/City\u003c/a>, composed of hundreds of artists, writers and the like, offers “a public forum for solutions… where art and tech can flourish.”\u003c/p>\n\u003cp>Similarly, \u003ca href=\"https://twitter.com/ArtupSF\">Artup\u003c/a> is “a platform for discussion and tangible engagement focused on issues of cultural economics, modes of production, and the confluence of technology and art.” Fiscally sponsored by the Gray Area Foundation for the Arts and organized in partnership with Bay Area online arts journal \u003ca href=\"http://www.artpractical.com/\">\u003ci>Art Practical\u003c/i>\u003c/a>, Artup organizes “meetups” and distributes a periodic grant to support projects that engage art and technology.\u003c/p>\n\u003cp>Behind the recent attrition of artists, art nonprofits and commercial galleries, pressing questions remain about how to cultivate sustainability in this new paradigm, questions that extend well beyond the concerns of the art community. Is this a crisis? Or is it an opportunity for reinvention? For anyone who cares about living in the Bay Area, with all of its sunny diversity, it should be seen as both.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>This is the second in a series by Christian L. Frock that explores the impact of new tech wealth on artists and the art community. The \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=134546\">first article\u003c/a> titled “Priced Out: New Tech Wealth and San Francisco’s Receding Art Scene” explored the impact on galleries and non-profit organizations and was published on March 7, 2014. Forthcoming installments will consider local changes in relation to the arts across the country, relevant histories and new strategies to preserve the arts and their legacies.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last fall, San Francisco artist and curator Rene Yañez and his family were \u003ca href=\"http://www.sfbg.com/2013/10/11/no-room-left-san-francisco-artist-who-helped-make-mission-what\">evicted under the Ellis Act\u003c/a> after living in their home for 35 years. A brief overview of Yañez’s cultural contributions includes the founding of nonprofit arts organization Galería de la Raza, the establishment of Dia de los Muertos, one of the city’s premiere traditions, and the first Bay Area presentation of Frida Kahlo’s work in 1978, after it was initially rejected by the San Francisco Museum of Modern Art.\u003c/p>\n\u003cp>In response to Yañez’s unceremonious eviction, performance artist Guillermo Gómez-Peña published an \u003ca href=\"https://docs.google.com/document/d/1pwjXeyT88TNdUgo8ZeNlBGAH-3GIKmloeLTqyxYVkm4/edit?pli=1\">open letter\u003c/a> to Yañez expressing his outrage over the city’s changing values. “This is the new San Francisco,” wrote Gómez-Peña, “a city that’s been sold to the seven most powerful internet corporations, and now you’ve become collateral damage, just some nuisance to be pushed out of the way by yet another greedy landlord marching along to the triumphant fanfares of the not-so-virtual takeover of our city.” In the time since, many others, including numerous artists, have been evicted or have simply priced out of their homes and studios.\u003c/p>\n\u003cp>As these stories emerge, some point out that the Bay Area has always been widely known as a transitory space for artists. Many have lived here for a time, then moved on to cities like Los Angeles or New York, where the art markets are more aggressive. Though opportunities for commercial success have always been somewhat limited in the Bay Area, artists and other creative types have chosen to move here for a variety of reasons: unparalleled natural beauty, divine weather, progressive politics, and, at various times until recently, relatively affordable live/work space, among other reasons. The appeal of the Bay Area, it was once explained to me by an artist, was that it allowed for and even encouraged risk-taking and experimentation, in ways that other art centers like New York didn’t, for lack of space and high cost of living.\u003c/p>\n\u003cp>San Francisco, and indeed the greater Bay Area, has seen several iterations of booms and busts in its relatively short history. Invariably these periods are compared to the Gold Rush, the historic touchstone of wild prosperity for a select few and grave adversity for everyone else. As far as the financial implications go, the writing is on the wall — social media spawns new \u003ca href=\"http://www.thebolditalic.com/articles/4451-so-this-housing-flier-is-depressing\">stories about outrageous San Francisco rents\u003c/a> every day, with one-bedroom apartments in the Mission going for as much as $5,000 a month, depending on who you ask.\u003c/p>\n\u003cp>San Francisco photographer Scott Hampton recently parodied the situation in \u003ca href=\"http://www.thebolditalic.com/articles/4637-parody-photos-of-the-sf-rental-market-are-darkly-funny\">a photo essay\u003c/a> on \u003ci>The Bold Italic\u003c/i>. Hampton’s images feature For Rent signs displayed on planter boxes and manhole covers, among other marginalized spaces around the city. An accompanying live Craigslist ad describes a dumpster as a “33 sq. ft. waterfront condo.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Popularized on Facebook, an earlier project titled \u003ca href=\"https://www.facebook.com/EverythingMustGoSanFrancisco\">\u003ci>Everything Must Go: San Francisco\u003c/i>\u003c/a> also posted fictitious notices on Craigslist under items for sale, lost items and missed connections. One ad, filed under “wanted by owner” sought the “ORIGINAL Mission District ($1).” Documentation of each ad is \u003ca href=\"http://everythingmustgosanfrancisco.tumblr.com/\">archived on Tumblr\u003c/a>.\u003c/p>\n\u003cp>With signs of a runaway real estate boom in full effect, the conversation shouldn’t be about vilifying technology sector workers — a common refrain — but instead questioning the corporate sector’s ability to absorb public resources while deftly avoiding reciprocal civic investment. In a \u003ca href=\"http://www.bloomberg.com/news/2014-03-12/cash-abroad-rises-206-billion-as-apple-to-ibm-avoid-tax.html\">March 12, 2014 article\u003c/a> \u003ci>Bloomberg\u003c/i> reported, “The largest U.S.-based companies, including Microsoft, Apple, and Google, added $206 billion to their stockpiles of offshore profits last year, parking earnings in low-tax countries until Congress gives them a reason not to.” The same article further estimated that this money amounts to an “annual revenue loss to the U.S. that ranges from $30 billion to $90 billion.” Simultaneously, there is no sense of these companies taking a corresponding philanthropic interest in the communities that house their workers or their headquarters — no massive influx of cash for public resources, such as transportation, or education, or housing.\u003c/p>\n\u003cp>Though one can argue that San Francisco has always been a city in transition, it has also long been defined by its commitment to cultural diversity and creative communities. The city’s investment in these values has, in fact, nurtured some of the most important cultural movements in the country. As the city evolves to reflect different values, privileging wealth and private enterprise, what will become of the civic responsibility to nurture and support artists and art communities at the grassroots level?\u003c/p>\n\u003cp>I contacted several current and former Bay Area artists and curators about San Francisco’s recent shifts, changing values and artist exodus — their perspectives are profiled here.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/31/rennypritikin.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-right: 10px;float: left\" alt=\"renny pritikin\">\u003c/p>\n\u003ch2>Renny Pritikin\u003c/h2>\n\u003cp>In 2010 longstanding Bay Area curator Renny Pritikin posted an \u003ca href=\"http://openspace.sfmoma.org/2010/02/artists-whove-left-town/\">open-ended article\u003c/a> on \u003ci>SFMOMA Open Space\u003c/i> that listed artists who’d left and those who’d stayed in the area up to that point. The article and resulting commentary invoked a healthy dialog about the Bay Area’s art scene — to the extent that readers continued to read and post comments two years after the initial publication. Now four years later, the extensive comments read like a pre-apocalyptic time capsule, with little anticipation of the cultural shifts evident today. There is scant mention of Facebook or Twitter. It represents, as a social document, the precipice of major changes in the cultural landscape — before the pervasive influence of social media on our everyday lives and the booming presence of the tech industrial complex.\u003c/p>\n\u003cp>“I see the current situation as exceptional, an earthquake as opposed to daily miniscule tremors in the usual economy of artists making the decision to stay or go,” Pritkin said recently. “I don’t feel, as some of my friends do, that this bubble too shall pass like the last one. This feels permanent.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/04/01/lisadent.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-left: 10px;float: right\" alt=\"lisa dent by carolyn lambert\">\u003c/p>\n\u003ch2>Lisa Dent\u003c/h2>\n\u003cp>Former San Francisco gallerist Lisa Dent, who operated an eponymous gallery in the city from 2004 to 2008, has observed the shift in wealth and its impact on artists across the country from a different perspective. As Director of Resources and Award Programs at Creative Capital, a funding organization that supports artists, she says, “I just don’t see room for experimentation. Creativity takes time and space and does not always bear financial fruit within a fiscal year. I find many artists to be very impatient, causing them to present work too quickly or get into agreements that are financially based and do nothing to push their work forward in formal, intellectual or conceptual ways. Past ideas just get regurgitated and we all learn nothing in the process.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/31/glenhelfand.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-right: 10px;float: left\" alt=\"glen helfand\">\u003c/p>\n\u003ch2>Glen Helfand\u003c/h2>\n\u003cp>Longtime Bay Area art critic, curator and educator Glen Helfand moved to San Francisco in the 1980s and began participating in local culture in the 1990s. In the time since, he has written for \u003ci>SF Weekly\u003c/i>, \u003ci>Bay Guardian\u003c/i>, and \u003ci>Artforum\u003c/i>; in 2002 he coined the term “Mission School” when writing for the \u003ci>Guardian\u003c/i> about Barry McGee, Margaret Kilgallen and Chris Johanson, artists whose work today is synonymous with San Francisco, and indeed the Mission, all over the world. Helfand has also organized shows in many venues, most recently a series of exhibitions at the Asian Art Museum of San Francisco, and has taught at several major art schools, including California College of the Arts, Mills College, and San Francisco Art Institute, where he organized public programs and lectures for the last eight years. After his rent more than doubled last year, Helfand moved to Oakland after failing to find anything he could afford in the city. “It was sobering to realize that my cultural contributions didn’t mean anything when it came to a place to live,” he said. “The thing I keep thinking about now is that question of what keeps me here if there is such a loss of what might be termed an artistic/alternative culture soul to San Francisco. Living outside the city, I have to wonder about what it is that will keep me coming back.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/04/01/andrewshoultz.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-left: 10px;float: right\" alt=\"\">\u003c/p>\n\u003ch2>Andrew Schoultz\u003c/h2>\n\u003cp>Some artists are reluctant to talk about displacement because it runs counter to a sense of ruthless optimism inherent to the Bay Area. Many are committed to seeing positive possibilities in recent changes, even if these possibilities come at the expense of others. Artist Andrew Schoultz, a former fixture in the San Francisco art scene, spoke about this pervasive disinterest in negativity in a telephone conversation for this article. “A lot of people would say, you know, ‘Get over it. This is happening.’ Only when someone is personally affected or someone they know is displaced does the conversation change.”\u003c/p>\n\u003cp>Schoultz was evicted from his first San Francisco apartment in the 1990s boom and persisted in the city for 17 years before opting to move to Los Angeles earlier this year. “San Francisco \u003ca href=\"http://blog.sfgate.com/cityinsider/2013/04/21/s-f-names-2013-year-of-the-child-despite-having-so-few-of-them/\">isn’t conducive to having a family\u003c/a>,” he said. “The city’s turned into a culture of extreme entitlement. There isn’t a philanthropic interest, it’s cutthroat with an air of privilege that wasn’t part of the first dot boom. Even the murals that some companies commission for their offices are a low investment in the community: if they change their minds later, they figure they can just paint over them.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/04/01/ruznichagler.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-right: 10px;float: left\" alt=\"josh hagler and maja ruznic\">\u003c/p>\n\u003ch2>Josh Hagler and Maja Ruznic\u003c/h2>\n\u003cp>This sense of the longstanding art community’s disposability is widely shared by some and dismissed by others. Artist Josh Hagler, who earlier this year moved from San Francisco to Los Angeles with artist Maja Ruznic, sees it as changing values, and notes that if he belabored the point on Facebook, some friends would respond with distanced explanations of economics. “A common sentiment, ‘I guess ‘they’ will just have to learn to adapt’ seemed to afford them distance from feeling and experiencing what is going on right now on the ground.”\u003c/p>\n\u003cp>For Ruznic, whose family arrived in the city in the 1990s as refugees from Bosnia, San Francisco is home. Her mother and sister still live in the same rent-controlled apartment from when they arrived. The stability of their living arrangement is a source of constant concern for the artist, who admits to struggling so hard to survive in the Bay Area that she supplemented her rent with credit cards. It is “a sad unfortunate situation facing not only artists, but all those not in the tech world,” she said.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/31/WalterRobinson.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-left: 10px;float: right\" alt=\"walter robinson\">\u003c/p>\n\u003ch2>Walter Robinson\u003c/h2>\n\u003cp>Longtime San Francisco artist Walter Robinson, who has called the Bay Area home his entire life, is planning to move to New Mexico later this year. “Although we could stay, we are not liking what San Francisco and the Bay Area have become,” he said. “Money is an issue insofar as we are at an age where the numbers have to make better sense to get us further down the road. This is a young and wealthy person’s town now… I’ve seen it go through all these changes over the years, but things have really changed here in the last year. People ask me, ‘Aren’t you going to miss the Bay Area?’ And I say that I already do. It’s not the same Bay Area it once was before.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/03/31/reneyanez.jpg\" width=\"200px\" style=\"margin-bottom: 10px;margin-right: 10px;float: left\" alt=\"rene yanez\">\u003c/p>\n\u003ch2>Rene Yañez\u003c/h2>\n\u003cp>Rene Yañez believes city arts leadership needs to take a position about the changes confronting artists and nonprofit cultural organizations. “I want to see the San Francisco Art Commission take a public stance on what is happening to the art community,” he said. “There is a long history of San Francisco and the city supporting artists — the arts commission should be tackling this issue as part of their agenda, organizing panels with artists and giving the community a chance to have their say. We need public events with artists and the new tech community to figure out how to create an audience and to discuss the future of San Francisco’s culture.” Asked if he imagines leaving the city, he said, “I am trying very hard not to leave, but spaces in the Mission have now become a status symbol.”\u003c/p>\n\u003ch2>Moving Forward\u003c/h2>\n\u003cp>Perhaps because the Bay Area has seen artists come and go habitually over the years, it’s tempting to assume a kind of stoicism in the face of the present exodus. Certainly there are many great artists here still. The cultural community remains tight knit, if somewhat polarized by the debate about how to consider recent shifts. Many are focused on the immediacy of so much displacement, including an organizing entity online called \u003ca href=\"https://defendthebayarea.org/\">Defend the Bay Area\u003c/a>, which offers to coordinate assemblies and other events for a kick-off week of actions through April 5, 2014. Others are interested in exploring an equitable relationship between art and technology. An open Facebook group called \u003ca href=\"https://www.facebook.com/groups/651492394900813/#_=_\">Re-engineering: Art/Tech/City\u003c/a>, composed of hundreds of artists, writers and the like, offers “a public forum for solutions… where art and tech can flourish.”\u003c/p>\n\u003cp>Similarly, \u003ca href=\"https://twitter.com/ArtupSF\">Artup\u003c/a> is “a platform for discussion and tangible engagement focused on issues of cultural economics, modes of production, and the confluence of technology and art.” Fiscally sponsored by the Gray Area Foundation for the Arts and organized in partnership with Bay Area online arts journal \u003ca href=\"http://www.artpractical.com/\">\u003ci>Art Practical\u003c/i>\u003c/a>, Artup organizes “meetups” and distributes a periodic grant to support projects that engage art and technology.\u003c/p>\n\u003cp>Behind the recent attrition of artists, art nonprofits and commercial galleries, pressing questions remain about how to cultivate sustainability in this new paradigm, questions that extend well beyond the concerns of the art community. Is this a crisis? Or is it an opportunity for reinvention? For anyone who cares about living in the Bay Area, with all of its sunny diversity, it should be seen as both.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>This is the second in a series by Christian L. Frock that explores the impact of new tech wealth on artists and the art community. The \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=134546\">first article\u003c/a> titled “Priced Out: New Tech Wealth and San Francisco’s Receding Art Scene” explored the impact on galleries and non-profit organizations and was published on March 7, 2014. Forthcoming installments will consider local changes in relation to the arts across the country, relevant histories and new strategies to preserve the arts and their legacies.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "priced-out-saying-good-bye-to-the-myth-of-san-francisco",
"title": "Priced Out: Saying Good-bye to the Myth of San Francisco",
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"headTitle": "Priced Out: Saying Good-bye to the Myth of San Francisco | KQED",
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"content": "\u003cp>I have loved and lost San Francisco multiple times during our tempestuous, decades-long relationship. I understand that it is through the sheer generosity (or benign negligence) of my landlord that I can afford to stay in the city and make my way as an artist, but one day soon a strong wind will blow my house down and I will have to move away. I can feel my grip on the city loosening and, as the discussion or the argument (or maybe it’s just a bitchfest) over the future of the city’s cultural life intensifies, I also feel myself unable to step up to my fickle lover’s defense.\u003c/p>\n\u003cp>I mangle this metaphor as I regurgitate it (shout out to recent posts by \u003ca href=\"http://www.thebolditalic.com/articles/4261-all-my-friends-are-moving-to-los-angeles\">Michelle Tea\u003c/a> and Stephanie Syjuco, in particular), but San Francisco really is like a boyfriend/girlfriend (possibly trans) who knows he/she is hotter than you and is constantly on the lookout for a more worthy mate. Maybe that mate is smarter or more beautiful. Or maybe just wealthier; I didn’t know the city was a gold digger, although with its roots in the Gold Rush I should have suspected. This is an important part of the city’s history that is often overlooked: the lure of the boom looms large.\u003c/p>\n\u003cp>San Francisco never ages, he/she is consistently seductive, a natural beauty and an enduring idea. But as we negotiate our breakup, I wonder if it’s possible to see my beloved more clearly. How much am I dazzled by my own projections and how much is really there? How much was always a myth?\u003c/p>\n\u003ch2>Where the Outsiders Are In\u003c/h2>\n\u003cp>The myth becomes true if enough people invest it with power. That was certainly the case for the Beats in the 1950s, and for the hippies during the Summer of Love. It was also undeniably true of the city as gay world capital, a ’70s haven on the cutting edge of queer rights and culture and then ’80s refuge for a community buffeted by the scourge of AIDS.\u003c/p>\n\u003cp>When I arrived, the gay party was already over. Bathhouses were embattled and being closed by the health department; young men hobbled down the streets, reduced to purple-spotted skin and bones. The queer community was tired, devastated by the amount of adult reality it had been forced to face and the hatred and bigotry that was being foisted upon it during its time of greatest need. There were no mentors. There was no one around to take a young, confused boy — drawn to the city with the promise of belonging — by the hand, welcome him into the fold and teach him how to be healthy, well-adjusted and gay. Perhaps that was the first time I saw through the myth to the reality and understood that it would be up to me to build my own community. I searched the streets for others like me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I discovered them squirreled away within various warehouses in the Mission and South of Market Districts. Drawn by cheap rents, artists (at that time predominantly middle and working class, with a healthy mix of immigrants, runaways, hustlers and the occasional trust fund slummer) had begun invading these once largely Latino and light industrial neighborhoods, but not yet in numbers so great that a real displacement was being felt. However, aren’t we artists the first sign of a coming neighborhood apocalypse? Didn’t we make the space safe for the kind of capitalism that is now pushing us out?\u003c/p>\n\u003cfigure id=\"attachment_128431\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-econo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-econo.jpg\" alt=\"cliff hengst\" width=\"640\" height=\"480\" class=\"size-full wp-image-128431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-econo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-econo-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-econo-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cliff Hengst, from \u003ci>Gotta get a message to you\u003c/i>, 2014; courtesy of the artist and \u003ca href=\"http://rightwindow.blogspot.com/\">Right Window\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>I often wonder at the loud protestations of today’s artists when they, too, are being displaced. Weren’t the same things said when we first arrived to take advantage of cheap rents? Then our friends came to visit and realized the neighborhood wasn’t as bad as it had been portrayed. And then slowly things began to change. The local diner became a coffee shop serving better coffee at a higher price. The local junk shop turned “vintage,” marketing the same stuff only perceived and valued in a different way. Cheap ethnic eatery gets taken over by an eager chef wanting to strike out on her own and make good food using local ingredients. Prices rise; the economic engine gets going, speeds up and there’s no telling when or where it will come to a stop.\u003c/p>\n\u003cp>And what cycle, I wonder, will overtake the techies who are even now changing the neighborhoods that attract them? What will replace the creative industry of the artists who are being forced to flee? This new group is being drawn to the city by the same things that drew previous populations: a thriving culture and the presence of like-minded individuals. In the San Francisco of today, techies can find others who speak their language and share their visions of a digital utopia, whatever shapes that may take. They have created a culture of start-up entrepreneurialism that has altered the atmosphere and with it comes a whole new set of values and priorities both public and private.\u003c/p>\n\u003ch2>San Francisco: The Suburb\u003c/h2>\n\u003cp>The process of continuous change and re-invention is an important element to keeping a city alive. However, there is something puzzling and counter-intuitive about this or any city becoming a bedroom community to an industry located elsewhere — especially one \u003ca href=\"http://www.nytimes.com/2014/03/16/opinion/sunday/the-rise-of-anti-capitalism.html\">premised on replacing occupations with apps and moving whole industries into “the cloud.”\u003c/a> It is easy to view this activity as a drain. Disruptive tech lives up to its name while the rate of change becomes dizzying. (See David Talbot’s \u003ca href=\"http://48hillsonline.org/2014/03/14/san-francisco-bust-class-war-need-stand-fight-save-city/\">\u003ci>San Francisco or bust\u003c/i>\u003c/a> at 48hillsonline.org for more on this subject.)\u003c/p>\n\u003cp>Living with this kind of uncertainty inevitably causes conflict. Yes, more tech money has arrived in the city, but it has brought a whole new kind of energy that, in some sectors, has created fertile ground for new kinds of experimentation and innovation — and possibly new forms of art. But that art hasn’t arrived yet. In the age of the 3-D printer, are we entering a period where conceptual art — in the form of printer instructions — overtakes object art? This question, which has been posed for decades in the art world, just hurts my heart, perhaps because I am so attached to practice, tactility and craft. I understand the years of work that go in to becoming good at something. Is object making integral to what it means to be human? Or was it during the part of our evolution that is now passing?\u003c/p>\n\u003cp>I keep hearing a small voice inside telling me that something important is being lost, but I can’t put my finger on what it is. I know that the \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=134546\">closure of so many galleries and art spaces\u003c/a> means a shrinking art scene with fewer opportunities for artists to exhibit, sell work and build support for their practice. Most importantly, the middle ground of the mid-career professional — the space inhabited by working artists (in other words the middle class) — is crumbling. \u003ca href=\"http://ww2.kqed.org/news/2014/03/04/san-francisco-artists-struggle-to-stay-in-city-as-housing-costs-skyrocket\">How will today’s emerging artists survive\u003c/a>, much less thrive? As an artist, this information translates into a statement that should be unthinkable: “San Francisco is over.”\u003c/p>\n\u003cfigure id=\"attachment_128432\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-maketake.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-maketake.jpg\" alt=\"Cliff Hengst, from Gotta get a message to you, 2014; courtesy of the artist and Right Window\" width=\"640\" height=\"480\" class=\"size-full wp-image-128432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-maketake.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-maketake-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-maketake-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cliff Hengst, from \u003ci>Gotta get a message to you\u003c/i>, 2014; courtesy of the artist and \u003ca href=\"http://rightwindow.blogspot.com/\">Right Window\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch2>Life Is Hard and Then You Die\u003c/h2>\n\u003cp>Perhaps these issues are so difficult because of art’s dual nature. On the one hand, artists create ephemeral gestures that capture and inflect what it is like to BE HERE NOW. When people say that impacted artists and arts organizations should just move to another part of the Bay, they ignore two important points. First, being priced out is not limited to the city alone — and displacements domino. Secondly, how does one reflect what it means to be HERE from someplace else? Artists soak in our environments using daily experience as raw material. In a sense, all art is site specific.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n\u003cp>“How does one reflect what it means to be HERE from someplace else? Artists soak in our environments using daily experience as raw material. In a sense, all art is site specific.”\u003c/p>\n\u003c/aside>\n\u003cp>The other part of the art equation is the eternal. We make new art alongside and in dialogue with the towering masters who have withstood the test of time. When we think of art, we often conjure images that seemingly stand outside of history. Perhaps this idea of timelessness is factored in to the emotion around losing an art space as opposed to some other enterprise. Art’s juxtaposition of the ephemeral and the permanent is what makes it so vital.\u003c/p>\n\u003cp>This duality is also there when we think of home. Though it is disconcerting to contemplate, the city we call home is not permanent — we only need another big quake to demonstrate that fact — and we are even more temporary residents. For a brief moment, we take ownership and shape the space to suit our needs.\u003c/p>\n\u003cp>Problem is, eviction from one’s home or community cannot help but feel personal. One can only imagine how the older gay men who survived hatred, discrimination and the AIDS crisis only to be \u003ca href=\"http://ww2.kqed.org/news/2013/10/02/113651/evictions-displace-gay-men-with-aids\">swept out of The Castro\u003c/a> by babies in strollers must feel. Perhaps the same way the Irish working class families felt when they were displaced by queers. This must be what it’s like to get old: You spend your whole life nurturing something that disregards your contribution, devalues and ultimately discards you. Such is the cycle of life.\u003c/p>\n\u003ch2>Belonging, Diversity, Social Justice: There’s an App for That\u003c/h2>\n\u003cp>Someone recently posted on one of KQED Arts’ message boards about being a misfit and looking to San Francisco as a place where misfits somehow belong — another of the city’s myths. This made me sad and I felt compelled to respond because the very definition of a misfit is someone who doesn’t fit, and it seemed that the writer was confused about a basic tenet of his or her own assumed identity. As humans we are compelled to search out others of like mind and create community, yet there are also those of us who identify strongly as outsiders. An outsider will always be looking in with melancholy, it is part of who we are, and in the age of the global popularity contest called Facebook, being “liked” has puzzlingly become part of our job description. What does that mean for the “other”? How can the city have gone from a Mecca for misfits to the leading exporter of a culture of “like”?\u003c/p>\n\u003caside class=\"pullquote alignright\">\n\u003cp>“How can the city have gone from a Mecca for misfits to the leading exporter of a culture of ‘like’?”\u003c/p>\n\u003c/aside>\n\u003cp>So, what are the myths we tell ourselves about the meaning of San Francisco? And is it possible to separate what we see (and what we want to see) from what’s really there? Resisting cultural change is a fool’s errand, though not fighting for what you believe in is equally abhorrent. But are we fighting to save something that has already vanished? Or, worse yet, may never have been there in the first place? What San Francisco are you trying to hold onto? What role did you play in creating the San Francisco that now exists, and is forcing you out? Can you let your beloved move on to grow, change and become something you no longer recognize — someone you would never fall for and someone who wouldn’t give you the time of day?\u003c/p>\n\u003cp>When I look back on my three decades in the city, I know that it was the cheap rent, from the walk-in closet I occupied for $90/month to the $300/month room I rented in Dogpatch, that made it possible for me to do things like attend school and dedicate myself to an art practice. But how do college students do it now? I pride myself for having lived in every bad neighborhood in San Francisco, but they are all upscale now. How is it possible for a barista to afford a walk-in closet even in the Tenderloin? And how does a city continue to function if the workers — bus drivers, teachers, waiters, and yes, artists — who are responsible for its services can no longer afford to live here?\u003c/p>\n\u003cfigure id=\"attachment_128433\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-citygone.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-citygone.jpg\" alt=\"cliff hengst my city was gone from gotta get a message to you 2014\" width=\"640\" height=\"636\" class=\"size-full wp-image-128433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-300x298.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cliff Hengst, from \u003ci>Gotta get a message to you\u003c/i>, 2014; courtesy of the artist and \u003ca href=\"http://rightwindow.blogspot.com/\">Right Window\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>I was shocked a couple of months back — or was it longer? (the pace of change creates its own alternate universe of time) — to discover that the Hayes Street drag bar Marlena’s had been replaced by a new swanky, upscale — and packed — bar with a front window that opened out onto the street. As I walked past, two young dudes stood out front smoking what looked like oversized cartoon cigars. I remembered this incident recently after hearing the Mission drag bar Esta Noche \u003ca href=\"http://blogs.kqed.org/pop/2014/02/27/esta-noche-to-close-nothing-is-sacred-san-francisco/\">was being replaced by something similar\u003c/a>. It was an interesting feeling.\u003c/p>\n\u003cp>I hadn’t been to Marlena’s in over a decade and it had never been a favorite hangout, but I found solace in the fact of its existence. When it disappeared I was shocked, which was a feeling made more absurd by the fact of Hayes Valley itself. Back in the late 1980s, when I lived on Hayes and Fillmore, that place was underneath a freeway and the idea of it populated with upscale boutiques and eateries would have been laughable. But Marlena’s was there, along with the nightly street theater provided by its colorful patrons. Where do they perform now? And who gets to find amusement in their alternate universe of drama and comedy? Who will love the misfits while they survive? And when they are gone, how will we know what we have lost?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All artwork by Cliff Hengst from \u003ci>Gotta get a message to you\u003c/i>, a month-long residency at \u003ca href=\"http://rightwindow.blogspot.com/\">Right Window\u003c/a>. A new message appears every day through March, 2014. Closing party Sunday, March 30, 5-7pm.\u003c/p>\n\n",
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"excerpt": "San Francisco: boom town, progressive leader, Mecca for misfits -- which myths are still true today? How much are we dazzled by our own projections and how much is really there? How much was always a myth?",
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"title": "Priced Out: Saying Good-bye to the Myth of San Francisco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I have loved and lost San Francisco multiple times during our tempestuous, decades-long relationship. I understand that it is through the sheer generosity (or benign negligence) of my landlord that I can afford to stay in the city and make my way as an artist, but one day soon a strong wind will blow my house down and I will have to move away. I can feel my grip on the city loosening and, as the discussion or the argument (or maybe it’s just a bitchfest) over the future of the city’s cultural life intensifies, I also feel myself unable to step up to my fickle lover’s defense.\u003c/p>\n\u003cp>I mangle this metaphor as I regurgitate it (shout out to recent posts by \u003ca href=\"http://www.thebolditalic.com/articles/4261-all-my-friends-are-moving-to-los-angeles\">Michelle Tea\u003c/a> and Stephanie Syjuco, in particular), but San Francisco really is like a boyfriend/girlfriend (possibly trans) who knows he/she is hotter than you and is constantly on the lookout for a more worthy mate. Maybe that mate is smarter or more beautiful. Or maybe just wealthier; I didn’t know the city was a gold digger, although with its roots in the Gold Rush I should have suspected. This is an important part of the city’s history that is often overlooked: the lure of the boom looms large.\u003c/p>\n\u003cp>San Francisco never ages, he/she is consistently seductive, a natural beauty and an enduring idea. But as we negotiate our breakup, I wonder if it’s possible to see my beloved more clearly. How much am I dazzled by my own projections and how much is really there? How much was always a myth?\u003c/p>\n\u003ch2>Where the Outsiders Are In\u003c/h2>\n\u003cp>The myth becomes true if enough people invest it with power. That was certainly the case for the Beats in the 1950s, and for the hippies during the Summer of Love. It was also undeniably true of the city as gay world capital, a ’70s haven on the cutting edge of queer rights and culture and then ’80s refuge for a community buffeted by the scourge of AIDS.\u003c/p>\n\u003cp>When I arrived, the gay party was already over. Bathhouses were embattled and being closed by the health department; young men hobbled down the streets, reduced to purple-spotted skin and bones. The queer community was tired, devastated by the amount of adult reality it had been forced to face and the hatred and bigotry that was being foisted upon it during its time of greatest need. There were no mentors. There was no one around to take a young, confused boy — drawn to the city with the promise of belonging — by the hand, welcome him into the fold and teach him how to be healthy, well-adjusted and gay. Perhaps that was the first time I saw through the myth to the reality and understood that it would be up to me to build my own community. I searched the streets for others like me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I discovered them squirreled away within various warehouses in the Mission and South of Market Districts. Drawn by cheap rents, artists (at that time predominantly middle and working class, with a healthy mix of immigrants, runaways, hustlers and the occasional trust fund slummer) had begun invading these once largely Latino and light industrial neighborhoods, but not yet in numbers so great that a real displacement was being felt. However, aren’t we artists the first sign of a coming neighborhood apocalypse? Didn’t we make the space safe for the kind of capitalism that is now pushing us out?\u003c/p>\n\u003cfigure id=\"attachment_128431\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-econo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-econo.jpg\" alt=\"cliff hengst\" width=\"640\" height=\"480\" class=\"size-full wp-image-128431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-econo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-econo-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-econo-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cliff Hengst, from \u003ci>Gotta get a message to you\u003c/i>, 2014; courtesy of the artist and \u003ca href=\"http://rightwindow.blogspot.com/\">Right Window\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>I often wonder at the loud protestations of today’s artists when they, too, are being displaced. Weren’t the same things said when we first arrived to take advantage of cheap rents? Then our friends came to visit and realized the neighborhood wasn’t as bad as it had been portrayed. And then slowly things began to change. The local diner became a coffee shop serving better coffee at a higher price. The local junk shop turned “vintage,” marketing the same stuff only perceived and valued in a different way. Cheap ethnic eatery gets taken over by an eager chef wanting to strike out on her own and make good food using local ingredients. Prices rise; the economic engine gets going, speeds up and there’s no telling when or where it will come to a stop.\u003c/p>\n\u003cp>And what cycle, I wonder, will overtake the techies who are even now changing the neighborhoods that attract them? What will replace the creative industry of the artists who are being forced to flee? This new group is being drawn to the city by the same things that drew previous populations: a thriving culture and the presence of like-minded individuals. In the San Francisco of today, techies can find others who speak their language and share their visions of a digital utopia, whatever shapes that may take. They have created a culture of start-up entrepreneurialism that has altered the atmosphere and with it comes a whole new set of values and priorities both public and private.\u003c/p>\n\u003ch2>San Francisco: The Suburb\u003c/h2>\n\u003cp>The process of continuous change and re-invention is an important element to keeping a city alive. However, there is something puzzling and counter-intuitive about this or any city becoming a bedroom community to an industry located elsewhere — especially one \u003ca href=\"http://www.nytimes.com/2014/03/16/opinion/sunday/the-rise-of-anti-capitalism.html\">premised on replacing occupations with apps and moving whole industries into “the cloud.”\u003c/a> It is easy to view this activity as a drain. Disruptive tech lives up to its name while the rate of change becomes dizzying. (See David Talbot’s \u003ca href=\"http://48hillsonline.org/2014/03/14/san-francisco-bust-class-war-need-stand-fight-save-city/\">\u003ci>San Francisco or bust\u003c/i>\u003c/a> at 48hillsonline.org for more on this subject.)\u003c/p>\n\u003cp>Living with this kind of uncertainty inevitably causes conflict. Yes, more tech money has arrived in the city, but it has brought a whole new kind of energy that, in some sectors, has created fertile ground for new kinds of experimentation and innovation — and possibly new forms of art. But that art hasn’t arrived yet. In the age of the 3-D printer, are we entering a period where conceptual art — in the form of printer instructions — overtakes object art? This question, which has been posed for decades in the art world, just hurts my heart, perhaps because I am so attached to practice, tactility and craft. I understand the years of work that go in to becoming good at something. Is object making integral to what it means to be human? Or was it during the part of our evolution that is now passing?\u003c/p>\n\u003cp>I keep hearing a small voice inside telling me that something important is being lost, but I can’t put my finger on what it is. I know that the \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=134546\">closure of so many galleries and art spaces\u003c/a> means a shrinking art scene with fewer opportunities for artists to exhibit, sell work and build support for their practice. Most importantly, the middle ground of the mid-career professional — the space inhabited by working artists (in other words the middle class) — is crumbling. \u003ca href=\"http://ww2.kqed.org/news/2014/03/04/san-francisco-artists-struggle-to-stay-in-city-as-housing-costs-skyrocket\">How will today’s emerging artists survive\u003c/a>, much less thrive? As an artist, this information translates into a statement that should be unthinkable: “San Francisco is over.”\u003c/p>\n\u003cfigure id=\"attachment_128432\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-maketake.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-maketake.jpg\" alt=\"Cliff Hengst, from Gotta get a message to you, 2014; courtesy of the artist and Right Window\" width=\"640\" height=\"480\" class=\"size-full wp-image-128432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-maketake.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-maketake-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-maketake-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cliff Hengst, from \u003ci>Gotta get a message to you\u003c/i>, 2014; courtesy of the artist and \u003ca href=\"http://rightwindow.blogspot.com/\">Right Window\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003ch2>Life Is Hard and Then You Die\u003c/h2>\n\u003cp>Perhaps these issues are so difficult because of art’s dual nature. On the one hand, artists create ephemeral gestures that capture and inflect what it is like to BE HERE NOW. When people say that impacted artists and arts organizations should just move to another part of the Bay, they ignore two important points. First, being priced out is not limited to the city alone — and displacements domino. Secondly, how does one reflect what it means to be HERE from someplace else? Artists soak in our environments using daily experience as raw material. In a sense, all art is site specific.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n\u003cp>“How does one reflect what it means to be HERE from someplace else? Artists soak in our environments using daily experience as raw material. In a sense, all art is site specific.”\u003c/p>\n\u003c/aside>\n\u003cp>The other part of the art equation is the eternal. We make new art alongside and in dialogue with the towering masters who have withstood the test of time. When we think of art, we often conjure images that seemingly stand outside of history. Perhaps this idea of timelessness is factored in to the emotion around losing an art space as opposed to some other enterprise. Art’s juxtaposition of the ephemeral and the permanent is what makes it so vital.\u003c/p>\n\u003cp>This duality is also there when we think of home. Though it is disconcerting to contemplate, the city we call home is not permanent — we only need another big quake to demonstrate that fact — and we are even more temporary residents. For a brief moment, we take ownership and shape the space to suit our needs.\u003c/p>\n\u003cp>Problem is, eviction from one’s home or community cannot help but feel personal. One can only imagine how the older gay men who survived hatred, discrimination and the AIDS crisis only to be \u003ca href=\"http://ww2.kqed.org/news/2013/10/02/113651/evictions-displace-gay-men-with-aids\">swept out of The Castro\u003c/a> by babies in strollers must feel. Perhaps the same way the Irish working class families felt when they were displaced by queers. This must be what it’s like to get old: You spend your whole life nurturing something that disregards your contribution, devalues and ultimately discards you. Such is the cycle of life.\u003c/p>\n\u003ch2>Belonging, Diversity, Social Justice: There’s an App for That\u003c/h2>\n\u003cp>Someone recently posted on one of KQED Arts’ message boards about being a misfit and looking to San Francisco as a place where misfits somehow belong — another of the city’s myths. This made me sad and I felt compelled to respond because the very definition of a misfit is someone who doesn’t fit, and it seemed that the writer was confused about a basic tenet of his or her own assumed identity. As humans we are compelled to search out others of like mind and create community, yet there are also those of us who identify strongly as outsiders. An outsider will always be looking in with melancholy, it is part of who we are, and in the age of the global popularity contest called Facebook, being “liked” has puzzlingly become part of our job description. What does that mean for the “other”? How can the city have gone from a Mecca for misfits to the leading exporter of a culture of “like”?\u003c/p>\n\u003caside class=\"pullquote alignright\">\n\u003cp>“How can the city have gone from a Mecca for misfits to the leading exporter of a culture of ‘like’?”\u003c/p>\n\u003c/aside>\n\u003cp>So, what are the myths we tell ourselves about the meaning of San Francisco? And is it possible to separate what we see (and what we want to see) from what’s really there? Resisting cultural change is a fool’s errand, though not fighting for what you believe in is equally abhorrent. But are we fighting to save something that has already vanished? Or, worse yet, may never have been there in the first place? What San Francisco are you trying to hold onto? What role did you play in creating the San Francisco that now exists, and is forcing you out? Can you let your beloved move on to grow, change and become something you no longer recognize — someone you would never fall for and someone who wouldn’t give you the time of day?\u003c/p>\n\u003cp>When I look back on my three decades in the city, I know that it was the cheap rent, from the walk-in closet I occupied for $90/month to the $300/month room I rented in Dogpatch, that made it possible for me to do things like attend school and dedicate myself to an art practice. But how do college students do it now? I pride myself for having lived in every bad neighborhood in San Francisco, but they are all upscale now. How is it possible for a barista to afford a walk-in closet even in the Tenderloin? And how does a city continue to function if the workers — bus drivers, teachers, waiters, and yes, artists — who are responsible for its services can no longer afford to live here?\u003c/p>\n\u003cfigure id=\"attachment_128433\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-citygone.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/hengst-citygone.jpg\" alt=\"cliff hengst my city was gone from gotta get a message to you 2014\" width=\"640\" height=\"636\" class=\"size-full wp-image-128433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-300x298.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/hengst-citygone-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cliff Hengst, from \u003ci>Gotta get a message to you\u003c/i>, 2014; courtesy of the artist and \u003ca href=\"http://rightwindow.blogspot.com/\">Right Window\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>I was shocked a couple of months back — or was it longer? (the pace of change creates its own alternate universe of time) — to discover that the Hayes Street drag bar Marlena’s had been replaced by a new swanky, upscale — and packed — bar with a front window that opened out onto the street. As I walked past, two young dudes stood out front smoking what looked like oversized cartoon cigars. I remembered this incident recently after hearing the Mission drag bar Esta Noche \u003ca href=\"http://blogs.kqed.org/pop/2014/02/27/esta-noche-to-close-nothing-is-sacred-san-francisco/\">was being replaced by something similar\u003c/a>. It was an interesting feeling.\u003c/p>\n\u003cp>I hadn’t been to Marlena’s in over a decade and it had never been a favorite hangout, but I found solace in the fact of its existence. When it disappeared I was shocked, which was a feeling made more absurd by the fact of Hayes Valley itself. Back in the late 1980s, when I lived on Hayes and Fillmore, that place was underneath a freeway and the idea of it populated with upscale boutiques and eateries would have been laughable. But Marlena’s was there, along with the nightly street theater provided by its colorful patrons. Where do they perform now? And who gets to find amusement in their alternate universe of drama and comedy? Who will love the misfits while they survive? And when they are gone, how will we know what we have lost?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All artwork by Cliff Hengst from \u003ci>Gotta get a message to you\u003c/i>, a month-long residency at \u003ca href=\"http://rightwindow.blogspot.com/\">Right Window\u003c/a>. A new message appears every day through March, 2014. Closing party Sunday, March 30, 5-7pm.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco’s Le Video Looking For New Model to Survive",
"headTitle": "San Francisco’s Le Video Looking For New Model to Survive | KQED",
"content": "\u003cdiv>\n\u003cp>Le Video website takes aim at Netflix.\u003c/p>\n\u003c/div>\n\u003cp>Earlier this week, Le Video, a favorite place to rent movies among San Francisco film lovers, said its financial circumstances had become dire, and barring a “miracle” \u003ca target=\"_blank\" href=\"https://www.facebook.com/LeVideoSF/posts/10152027502870765?stream_ref=10\" rel=\"noopener\">would close\u003c/a> at the end of April. Or, as the site \u003ca target=\"_blank\" href=\"http://frenchmorning.com/le-video-veritable-tresor-culturel-francophone-se-meurt/#\" rel=\"noopener\">French Morning \u003c/a>\u003ca href=\"http://ww2.kqed.org/news/2014/03/14/le-video-san-francisco/\" target=\"_blank\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/03/14/le-video-san-francisco/\" target=\"_blank\" title=\"San Francisco’s Le Video Looking For New Model to Survive\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cdiv>\n\u003cp>Le Video website takes aim at Netflix.\u003c/p>\n\u003c/div>\n\u003cp>Earlier this week, Le Video, a favorite place to rent movies among San Francisco film lovers, said its financial circumstances had become dire, and barring a “miracle” \u003ca target=\"_blank\" href=\"https://www.facebook.com/LeVideoSF/posts/10152027502870765?stream_ref=10\" rel=\"noopener\">would close\u003c/a> at the end of April. Or, as the site \u003ca target=\"_blank\" href=\"http://frenchmorning.com/le-video-veritable-tresor-culturel-francophone-se-meurt/#\" rel=\"noopener\">French Morning \u003ca href=\"http://ww2.kqed.org/news/2014/03/14/le-video-san-francisco/\" target=\"_blank\" class=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv>\n\u003cp>Le Video website takes aim at Netflix.\u003c/p>\n\u003c/div>\n\u003cp>Earlier this week, Le Video, a favorite place to rent movies among San Francisco film lovers, said its financial circumstances had become dire, and barring a “miracle” \u003ca target=\"_blank\" href=\"https://www.facebook.com/LeVideoSF/posts/10152027502870765?stream_ref=10\" rel=\"noopener\">would close\u003c/a> at the end of April. Or, as the site \u003ca target=\"_blank\" href=\"http://frenchmorning.com/le-video-veritable-tresor-culturel-francophone-se-meurt/#\" rel=\"noopener\">French Morning \u003c/a>\u003ca href=\"http://ww2.kqed.org/news/2014/03/14/le-video-san-francisco/\" target=\"_blank\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/03/14/le-video-san-francisco/\" target=\"_blank\" title=\"San Francisco’s Le Video Looking For New Model to Survive\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On Monday night the film rental store Le Video \u003ca href=\"https://www.facebook.com/%20LeVideoSF\">posted on its Facebook page\u003c/a> that, barring a “miracle,” it would close by the end of April.\u003c/p>\n\u003cp>The Inner Sunset fixture first opened in 1980 and has long been a favorite among cinephiles. The problem, says veteran Le Video employee John Taylor, is that the store has been losing money for years. Though the owner, Catherine Tchen, also owns the building, Taylor says she can no longer afford to keep the business afloat instead of renting out the 3,000-square-foot ground floor that the store occupies.\u003c/p>\n\u003cp>Taylor isn’t ready to hit the off button just yet — more like the pause. He says a plan is in the works to move the store’s fantastically copious stock of 80-90,000 titles to an upstairs space, where it wouldn’t be browsable but customers could at least peruse the titles in binders. Ideally, the store would transition to a rent-by-mail business, like Netflix. Taylor says Le Video has been working for several years on cleaning up its database and creating software in preparation for the switch, but that development delays have slowed the process.\u003c/p>\n\u003cp>“My hope is that we’ll go upstairs, keep the collection alive,” he said. “We’re working on doing a Kickstarter or Indiegogo.”\u003c/p>\n\u003cp>In the meantime, the store has shortened its hours from 12-10pm to 12-8 on weekdays. The previously extended weekend hours are also now 12-8pm. Le Video suggests that anyone who has prepaid for movies come in and use up their remaining credits soon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s probably unnecessary to note that Taylor identifies the Internet as the one and only suspect in the non-mystery of “Who Killed the Video Rental Business?” As Netflix has gradually swelled into a movie rental colossus, the city’s independent video stores, not to mention its \u003ca href=\"http://www.sfgate.com/business/bottomline/article/Final-curtain-for-Blockbuster-stores-4962081.php\">non-independent video stores\u003c/a>, have closed one by one. Taylor blames “people’s interest in having things streaming to them and not having to leave the house to get stuff. They want instant gratification for their entertainment and even though they have less of a choice it doesn’t matter to a lot of people.”\u003c/p>\n\u003cp>Yeah. Back in the day, Le Video was many a cineaste’s go-to source for rare items. The store bills itself as having “the largest rental selection in California,” and anyone who has been in awe as they browsed the stacks wouldn’t give that a second thought. I visited many times over the years, but now I stand as a good example of why even the most exceptional video stores can’t make it anymore. I used to actually schlep myself \u003ci>on Muni\u003c/i> to Le Video for the privilege of renting some obscure Werner Herzog film or something. But then Netflix came along with its so-called “\u003ca href=\"http://www.wired.com/wired/archive/12.10/tail.html\">long tail\u003c/a>,” the strategy of stockpiling a vast array of niche content so that it becomes profitable in the aggregate. And suddenly I found that instead of having to get on public transportation to procure certain movies, I could get many of them delivered straight to my door.\u003c/p>\n\u003cp>Netflix’s \u003ca href=\"http://blogs.reuters.com/felix-salmon/2011/07/12/did-netflix-just-kill-its-long-tail-model/\">business model has changed\u003c/a>, however. They’re doing everything they can to \u003ca href=\"http://www.businessweek.com/articles/2013-10-21/netflix-may-ditch-dvds-sooner-rather-than-later\">get people off DVDs and onto streaming\u003c/a>, where there is currently a much more limited selection of titles. Perhaps consequently, that much-ballyhooed long tail has been trimmed. This is strictly anecdotal, but I have noticed that some DVDs that used to sit patiently waiting their turn in my queue have now dropped down to the “saved” section, where the time of their availability is listed as “unknown.” I’ll read that as a euphemism for “never,” at least where a physical disc is concerned. When I was talking to Taylor, he pointed out that Netflix’s collection was now omitting many standard titles — such as a bunch of Woody Allen movies. I checked; he’s right. \u003ci>Bananas\u003c/i>, \u003ci>Mighty Aphrodite\u003c/i>, \u003ci>Everyone Says I Love You\u003c/i>, \u003ci>Deconstructing Harry\u003c/i>, \u003ci>Sweet and Lowdown\u003c/i>, \u003ci>Everything You Wanted to Know About Sex *But Were Afraid to Ask\u003c/i>, and \u003ci>September\u003c/i> — all unavailable. I have a request for comment out to Netflix but haven’t heard back yet. (Via streaming, it’s really slim Woody-pickings: Just \u003ci>Manhattan\u003c/i> and \u003ci>Play It Again Sam\u003c/i>.)\u003c/p>\n\u003cp>I came up against this trend just recently, when I needed to get a hold of \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i>, the seminal black independent film by Melvin Van Peebles, for a piece I’m writing. I knew I had rented it through Netflix before, but found it’s now unavailable. So I tried Amazon streaming (nope) and iTunes (nope). I would have run down to my local video store, but I don’t \u003ci>have\u003c/i> a local video store. My wife eventually snared a copy for me from a library in Marin, where she works. My only other option would have been Le Video.\u003c/p>\n\u003cp>I guess one moral of that story is the lengths to which I went to avoid having to \u003ci>physically go somewhere\u003c/i> to rent a movie, just like John Taylor said. But another point is that for someone like me who wants or needs to see more obscure titles, subscriptions to multiple services may now be necessary to get the same breadth of selection available at a one-stop-shop like Le Video.\u003c/p>\n\u003cp>In the meantime, ideas for keeping Le Video afloat are all over its \u003ca href=\"https://www.facebook.com/LeVideoSF\">Facebook page\u003c/a>. Said one customer: “It’s crazy, but someone find a way to contact Tarantino. He’s a well known lover of the SF movie scene and has a special place in his heart for video stores for true film fanatics like himself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Anyone?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday night the film rental store Le Video \u003ca href=\"https://www.facebook.com/%20LeVideoSF\">posted on its Facebook page\u003c/a> that, barring a “miracle,” it would close by the end of April.\u003c/p>\n\u003cp>The Inner Sunset fixture first opened in 1980 and has long been a favorite among cinephiles. The problem, says veteran Le Video employee John Taylor, is that the store has been losing money for years. Though the owner, Catherine Tchen, also owns the building, Taylor says she can no longer afford to keep the business afloat instead of renting out the 3,000-square-foot ground floor that the store occupies.\u003c/p>\n\u003cp>Taylor isn’t ready to hit the off button just yet — more like the pause. He says a plan is in the works to move the store’s fantastically copious stock of 80-90,000 titles to an upstairs space, where it wouldn’t be browsable but customers could at least peruse the titles in binders. Ideally, the store would transition to a rent-by-mail business, like Netflix. Taylor says Le Video has been working for several years on cleaning up its database and creating software in preparation for the switch, but that development delays have slowed the process.\u003c/p>\n\u003cp>“My hope is that we’ll go upstairs, keep the collection alive,” he said. “We’re working on doing a Kickstarter or Indiegogo.”\u003c/p>\n\u003cp>In the meantime, the store has shortened its hours from 12-10pm to 12-8 on weekdays. The previously extended weekend hours are also now 12-8pm. Le Video suggests that anyone who has prepaid for movies come in and use up their remaining credits soon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s probably unnecessary to note that Taylor identifies the Internet as the one and only suspect in the non-mystery of “Who Killed the Video Rental Business?” As Netflix has gradually swelled into a movie rental colossus, the city’s independent video stores, not to mention its \u003ca href=\"http://www.sfgate.com/business/bottomline/article/Final-curtain-for-Blockbuster-stores-4962081.php\">non-independent video stores\u003c/a>, have closed one by one. Taylor blames “people’s interest in having things streaming to them and not having to leave the house to get stuff. They want instant gratification for their entertainment and even though they have less of a choice it doesn’t matter to a lot of people.”\u003c/p>\n\u003cp>Yeah. Back in the day, Le Video was many a cineaste’s go-to source for rare items. The store bills itself as having “the largest rental selection in California,” and anyone who has been in awe as they browsed the stacks wouldn’t give that a second thought. I visited many times over the years, but now I stand as a good example of why even the most exceptional video stores can’t make it anymore. I used to actually schlep myself \u003ci>on Muni\u003c/i> to Le Video for the privilege of renting some obscure Werner Herzog film or something. But then Netflix came along with its so-called “\u003ca href=\"http://www.wired.com/wired/archive/12.10/tail.html\">long tail\u003c/a>,” the strategy of stockpiling a vast array of niche content so that it becomes profitable in the aggregate. And suddenly I found that instead of having to get on public transportation to procure certain movies, I could get many of them delivered straight to my door.\u003c/p>\n\u003cp>Netflix’s \u003ca href=\"http://blogs.reuters.com/felix-salmon/2011/07/12/did-netflix-just-kill-its-long-tail-model/\">business model has changed\u003c/a>, however. They’re doing everything they can to \u003ca href=\"http://www.businessweek.com/articles/2013-10-21/netflix-may-ditch-dvds-sooner-rather-than-later\">get people off DVDs and onto streaming\u003c/a>, where there is currently a much more limited selection of titles. Perhaps consequently, that much-ballyhooed long tail has been trimmed. This is strictly anecdotal, but I have noticed that some DVDs that used to sit patiently waiting their turn in my queue have now dropped down to the “saved” section, where the time of their availability is listed as “unknown.” I’ll read that as a euphemism for “never,” at least where a physical disc is concerned. When I was talking to Taylor, he pointed out that Netflix’s collection was now omitting many standard titles — such as a bunch of Woody Allen movies. I checked; he’s right. \u003ci>Bananas\u003c/i>, \u003ci>Mighty Aphrodite\u003c/i>, \u003ci>Everyone Says I Love You\u003c/i>, \u003ci>Deconstructing Harry\u003c/i>, \u003ci>Sweet and Lowdown\u003c/i>, \u003ci>Everything You Wanted to Know About Sex *But Were Afraid to Ask\u003c/i>, and \u003ci>September\u003c/i> — all unavailable. I have a request for comment out to Netflix but haven’t heard back yet. (Via streaming, it’s really slim Woody-pickings: Just \u003ci>Manhattan\u003c/i> and \u003ci>Play It Again Sam\u003c/i>.)\u003c/p>\n\u003cp>I came up against this trend just recently, when I needed to get a hold of \u003ci>Sweet Sweetback’s Baadasssss Song\u003c/i>, the seminal black independent film by Melvin Van Peebles, for a piece I’m writing. I knew I had rented it through Netflix before, but found it’s now unavailable. So I tried Amazon streaming (nope) and iTunes (nope). I would have run down to my local video store, but I don’t \u003ci>have\u003c/i> a local video store. My wife eventually snared a copy for me from a library in Marin, where she works. My only other option would have been Le Video.\u003c/p>\n\u003cp>I guess one moral of that story is the lengths to which I went to avoid having to \u003ci>physically go somewhere\u003c/i> to rent a movie, just like John Taylor said. But another point is that for someone like me who wants or needs to see more obscure titles, subscriptions to multiple services may now be necessary to get the same breadth of selection available at a one-stop-shop like Le Video.\u003c/p>\n\u003cp>In the meantime, ideas for keeping Le Video afloat are all over its \u003ca href=\"https://www.facebook.com/LeVideoSF\">Facebook page\u003c/a>. Said one customer: “It’s crazy, but someone find a way to contact Tarantino. He’s a well known lover of the SF movie scene and has a special place in his heart for video stores for true film fanatics like himself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Anyone?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-francisco-artists-struggle-to-stay-in-city-as-housing-costs-skyrocket",
"title": "San Francisco Artists Struggle to Stay in City as Housing Costs Skyrocket",
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"content": "\u003cfigure id=\"attachment_128394\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/RS9092_2014-01-17-07.45.23-lpr.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-128394\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/RS9092_2014-01-17-07.45.23-lpr-640x480.jpg\" alt='A man toasts marshmallows for the crowd gathered to hear \"Eviction Ghost Stories and Other Housing Horrors.\" (Stephanie Martin/KQED)' width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A man toasts marshmallows for the crowd gathered to hear “Eviction Ghost Stories and Other Housing Horrors.” (Stephanie Martin/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>For almost two decades, LisaRuth Elliott has lived a colorful, bohemian life in San Francisco — painting murals, making collages and working as a community historian.\u003c/p>\n\u003cp>She also lived in Seattle, Southern California and Europe, but she says it was San Francisco’s vibrant cultural scene that energized her life and her work.\u003c/p>\n\u003cp>Not now, though.\u003c/p>\n\u003cp>“There was a time when artists would get together and say, ‘Hey, what are you working on?’ ‘Well, I’m really inspired by Pluto!’ or, ‘I’m really inspired by this technological creation!’ Whatever that topic might be,” Elliott says. “Now, it’s, ‘Ugh, how long am I going to be able to stay in the city?’ ”\u003c/p>\n\u003cp>Housing is a major issue for artists in San Francisco. The city does well compared with others around the nation when it comes to \u003ca href=\"http://www.americansforthearts.org/\">funding artists’ work\u003c/a>. But the city’s efforts to create affordable live/work spaces for artists haven’t panned out. Many local artists are now worrying the high cost of housing will force them to leave the city and abandon their creative community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elliott is one of dozens of artists and community activists who cram into a small courtyard behind a coffee house in San Francisco’s Mission District. A campfire burns before a makeshift stage.\u003c/p>\n\u003cp>She steps up to the microphone.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>Floating, drifting — I have been living as a sort of ghost for the last five months,” she says. The event is called \u003ca href=\"https://www.facebook.com/events/730582570300323/?ref=22\"> “Eviction Ghost Stories and Other Housing Horrors”.\u003c/a>\u003c/p>\n\u003cp>As Elliott talks about her eviction from her home in the Haight, a man sitting next to the fire toasts marshmallows and passes out s’mores to the crowd. The event is supposed to be campy, but the storytellers strain to contain their emotions.\u003c/p>\n\u003cp>If there’s anyone who wants to prevent artists from leaving, it’s Tom DeCaigny, cultural affairs director for the \u003ca href=\"http://www.sfartscommission.org/\">San Francisco Arts Commission\u003c/a>.\u003c/p>\n\u003cp>“I’ve had a couple of artists who are personal friends in the city who have faced eviction and a couple of them have had to leave the city. And on a personal level that’s hard,” DeCaigny says.\u003c/p>\n\u003cp>It’s DeCaigny’s job to promote and preserve the city’s arts and culture industry, which pumps roughly $1.4 billion a year into the local economy. He remembers the last artist exodus, spurred by the dot-com boom of the late 1990s. He’s asking city leaders to study that era to see what worked and what went wrong.\u003c/p>\n\u003cp>“Looking back at ’99 and 2000, the city did make some financial contributions to specific shared-space initiatives,” he says.\u003c/p>\n\u003cp>Those investments gave San Francisco dancers a \u003ca href=\"http://www.odcdance.org/\">state-of-the-art performance and training complex\u003c/a> in the Mission. Independent filmmakers got a new place to screen their work at a new \u003ca href=\"http://www.ninthstreet.org/building\">facility in the mid-Market area\u003c/a>.\u003c/p>\n\u003cp>“So, we know there are solutions by which the city can make investments, and private philanthropy and the nonprofit sector, to foster new innovations in both shared nonprofit space but also developments around artists’ housing,” DeCaigny says.\u003c/p>\n\u003cfigure id=\"attachment_128400\" class=\"wp-caption alignleft\" style=\"max-width: 288px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/RS9090_2014-01-17-08.10.31-lpr1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128400 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/RS9090_2014-01-17-08.10.31-lpr1-480x640.jpg\" alt=\"San Francisco artist and activist LisaRuth Elliott tells her eviction horror story at an event in the Mission. (Stepha\" width=\"288\" height=\"384\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco artist and activist LisaRuth Elliott tells her eviction horror story at an event in the Mission. (Stephanie Martin/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>But the last dot-com boom also hurt rezoning efforts designed to create affordable housing for artists. The new live-work spaces attracted an affluent crowd, and artists were priced out.\u003c/p>\n\u003cp>“Art is part of the brand for San Francisco,” says Randy Cohen, who researches and promotes sustainable arts policies at \u003ca href=\"http://www.americansforthearts.org/\">Americans for the Arts\u003c/a>, a nonprofit based in Washington, D.C.\u003c/p>\n\u003cp>“You know San Francisco has many positive attributes, but, globally, it’s thought of as a great cultural city,” he says. “If your artists are leaving town, you’re putting a key component of your brand at risk.”\u003c/p>\n\u003cp>Cohen says that while San Francisco searches for solutions to its housing crunch, less expensive cities like Seattle, Baltimore and Detroit are jumping on the opportunity to cultivate their own cultural brand, and they’re offering artists some enticing housing incentives. In Detroit, for example, homesteading is all the rage, says Cohen.\u003c/p>\n\u003cp>“You know: Live here, move here, work here for five years, and you get the deed,” he adds.\u003c/p>\n\u003cp>Of course, economic factors have long dictated where artists live and work: Artists priced out of Manhattan have moved to Brooklyn. Boston artists have moved to Rhode Island.\u003c/p>\n\u003cp>Right now, Oakland is luring artists from San Francisco and beyond, says Kelley Kahn, Oakland’s economic development director.\u003c/p>\n\u003cp>“I think there’s a sense here that you can come here and actually have a really high quality of life and, at the same time, be able to make a living in fine arts or the industrial art,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, some artists hope Oakland won’t get too popular. Housing costs here are also on the rise.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_128394\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/RS9092_2014-01-17-07.45.23-lpr.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-128394\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/RS9092_2014-01-17-07.45.23-lpr-640x480.jpg\" alt='A man toasts marshmallows for the crowd gathered to hear \"Eviction Ghost Stories and Other Housing Horrors.\" (Stephanie Martin/KQED)' width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A man toasts marshmallows for the crowd gathered to hear “Eviction Ghost Stories and Other Housing Horrors.” (Stephanie Martin/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>For almost two decades, LisaRuth Elliott has lived a colorful, bohemian life in San Francisco — painting murals, making collages and working as a community historian.\u003c/p>\n\u003cp>She also lived in Seattle, Southern California and Europe, but she says it was San Francisco’s vibrant cultural scene that energized her life and her work.\u003c/p>\n\u003cp>Not now, though.\u003c/p>\n\u003cp>“There was a time when artists would get together and say, ‘Hey, what are you working on?’ ‘Well, I’m really inspired by Pluto!’ or, ‘I’m really inspired by this technological creation!’ Whatever that topic might be,” Elliott says. “Now, it’s, ‘Ugh, how long am I going to be able to stay in the city?’ ”\u003c/p>\n\u003cp>Housing is a major issue for artists in San Francisco. The city does well compared with others around the nation when it comes to \u003ca href=\"http://www.americansforthearts.org/\">funding artists’ work\u003c/a>. But the city’s efforts to create affordable live/work spaces for artists haven’t panned out. Many local artists are now worrying the high cost of housing will force them to leave the city and abandon their creative community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elliott is one of dozens of artists and community activists who cram into a small courtyard behind a coffee house in San Francisco’s Mission District. A campfire burns before a makeshift stage.\u003c/p>\n\u003cp>She steps up to the microphone.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>Floating, drifting — I have been living as a sort of ghost for the last five months,” she says. The event is called \u003ca href=\"https://www.facebook.com/events/730582570300323/?ref=22\"> “Eviction Ghost Stories and Other Housing Horrors”.\u003c/a>\u003c/p>\n\u003cp>As Elliott talks about her eviction from her home in the Haight, a man sitting next to the fire toasts marshmallows and passes out s’mores to the crowd. The event is supposed to be campy, but the storytellers strain to contain their emotions.\u003c/p>\n\u003cp>If there’s anyone who wants to prevent artists from leaving, it’s Tom DeCaigny, cultural affairs director for the \u003ca href=\"http://www.sfartscommission.org/\">San Francisco Arts Commission\u003c/a>.\u003c/p>\n\u003cp>“I’ve had a couple of artists who are personal friends in the city who have faced eviction and a couple of them have had to leave the city. And on a personal level that’s hard,” DeCaigny says.\u003c/p>\n\u003cp>It’s DeCaigny’s job to promote and preserve the city’s arts and culture industry, which pumps roughly $1.4 billion a year into the local economy. He remembers the last artist exodus, spurred by the dot-com boom of the late 1990s. He’s asking city leaders to study that era to see what worked and what went wrong.\u003c/p>\n\u003cp>“Looking back at ’99 and 2000, the city did make some financial contributions to specific shared-space initiatives,” he says.\u003c/p>\n\u003cp>Those investments gave San Francisco dancers a \u003ca href=\"http://www.odcdance.org/\">state-of-the-art performance and training complex\u003c/a> in the Mission. Independent filmmakers got a new place to screen their work at a new \u003ca href=\"http://www.ninthstreet.org/building\">facility in the mid-Market area\u003c/a>.\u003c/p>\n\u003cp>“So, we know there are solutions by which the city can make investments, and private philanthropy and the nonprofit sector, to foster new innovations in both shared nonprofit space but also developments around artists’ housing,” DeCaigny says.\u003c/p>\n\u003cfigure id=\"attachment_128400\" class=\"wp-caption alignleft\" style=\"max-width: 288px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/RS9090_2014-01-17-08.10.31-lpr1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-128400 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/03/RS9090_2014-01-17-08.10.31-lpr1-480x640.jpg\" alt=\"San Francisco artist and activist LisaRuth Elliott tells her eviction horror story at an event in the Mission. (Stepha\" width=\"288\" height=\"384\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco artist and activist LisaRuth Elliott tells her eviction horror story at an event in the Mission. (Stephanie Martin/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>But the last dot-com boom also hurt rezoning efforts designed to create affordable housing for artists. The new live-work spaces attracted an affluent crowd, and artists were priced out.\u003c/p>\n\u003cp>“Art is part of the brand for San Francisco,” says Randy Cohen, who researches and promotes sustainable arts policies at \u003ca href=\"http://www.americansforthearts.org/\">Americans for the Arts\u003c/a>, a nonprofit based in Washington, D.C.\u003c/p>\n\u003cp>“You know San Francisco has many positive attributes, but, globally, it’s thought of as a great cultural city,” he says. “If your artists are leaving town, you’re putting a key component of your brand at risk.”\u003c/p>\n\u003cp>Cohen says that while San Francisco searches for solutions to its housing crunch, less expensive cities like Seattle, Baltimore and Detroit are jumping on the opportunity to cultivate their own cultural brand, and they’re offering artists some enticing housing incentives. In Detroit, for example, homesteading is all the rage, says Cohen.\u003c/p>\n\u003cp>“You know: Live here, move here, work here for five years, and you get the deed,” he adds.\u003c/p>\n\u003cp>Of course, economic factors have long dictated where artists live and work: Artists priced out of Manhattan have moved to Brooklyn. Boston artists have moved to Rhode Island.\u003c/p>\n\u003cp>Right now, Oakland is luring artists from San Francisco and beyond, says Kelley Kahn, Oakland’s economic development director.\u003c/p>\n\u003cp>“I think there’s a sense here that you can come here and actually have a really high quality of life and, at the same time, be able to make a living in fine arts or the industrial art,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, some artists hope Oakland won’t get too popular. Housing costs here are also on the rise.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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