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"title": "Robin Williams: ‘A Tortured Soul, But No One Was Kinder’",
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"content": "\u003cp>\u003ca>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Editor’s note:\u003c/strong> \u003cem>An earlier version of this post misidentified Bob Ayres. We regret the error. \u003c/em>\u003c/p>\n\u003cp>Friends and fellow performers of Robin Williams, the comedian and actor celebrated for his manic intelligence and high-speed inventiveness, are expressing shock at his passing earlier Monday.\u003c/p>\n\u003cp>Just one example:\u003c/p>\n\u003cblockquote lang=\"en\">\n\u003cp>I could not be more stunned \u003ca href=\"http://ww2.kqed.org/news/2014/08/11/robin-williams-bob-harris-other-cafe\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/08/11/robin-williams-bob-harris-other-cafe\" target=\"_self\" title=\"Robin Williams: ‘A Tortured Soul, But No One Was Kinder’\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003c/blockquote>\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>\u003ca>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Editor's note:\u003c/strong> \u003cem>An earlier version of this post misidentified Bob Ayres. We regret the error. \u003c/em>\u003c/p>\n\u003cp>Friends and fellow performers of Robin Williams, the comedian and actor celebrated for his manic intelligence and high-speed inventiveness, are expressing shock at his passing earlier Monday.\u003c/p>\n\u003cp>Just one example:\u003c/p>\n\u003cblockquote lang=\"en\">\n\u003cp>I could not be more stunned \u003ca href=\"http://ww2.kqed.org/news/2014/08/11/robin-williams-bob-harris-other-cafe\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"disqusTitle": "Robin Williams Suffered From Parkinson's Disease, Wife Says",
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"content": "\u003cfigure id=\"attachment_144548\" class=\"wp-caption aligncenter\" style=\"max-width: 561px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/08/robinwilliams.png\">\u003cimg class=\"size-full wp-image-144548\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/08/robinwilliams.png\" alt=\"An Instagram photo comedian and actor Robin Williams posted on his last birthday, July 21. The caption: 'Happy Birthday to me! A visit from one of my favorite leading ladies, Crystal.'\" width=\"561\" height=\"564\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An Instagram photo that comedian and actor Robin Williams posted on his last birthday, July 21. The caption: 'Happy Birthday to me! A visit from one of my favorite leading ladies, Crystal.'\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Update, 12 p.m. Thursday: \u003c/strong>Robin Williams was in the early stages of Parkinson's disease, his wife said in a statement Thursday, and he had not relapsed into drinking alcohol.\u003c/p>\n\u003cp>\"Robin's sobriety was intact and he was brave as he struggled with his own battles of depression, anxiety as well as early stages of Parkinson's disease, which he was not yet ready to share publicly,\" Susan Schneider said.\u003c/p>\n\u003cp>Parkinson's disease is a progressive disorder of the nervous system that often is first noticed through trembling hands.\u003c/p>\n\u003cp>\u003cstrong>Update, 11:30 a.m. Tuesday: \u003c/strong> Marin County sheriff's officials say that actor and comedian Robin Williams, found dead at his Tiburon home at midday Monday, hanged himself. Here are the relevant details \u003ca href=\"http://www.sfgate.com/bayarea/article/More-details-to-be-released-in-Robin-Williams-5683229.php\" target=\"_blank\">by way of the San Francisco Chronicle, which reports that Williams' body was discovered by his personal assistant\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The assistant became concerned about 11:45 a.m. Monday after Williams, 63, failed to answer knocks at his bedroom door, said Marin County sheriff's Lt. Keith Boyd.\u003c/p>\n\u003cp>The assistant entered the room and found Williams \"unresponsive with a belt secured around his neck, with the other end of the belt wedged between the clothes closet door and the door frame,\" Boyd said.\u003c/p>\u003c/blockquote>\n\u003cp>The complete statement from the sheriff's office \u003ca href=\"#williamscoroner\">is embedded below\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Update, 9:25 a.m. Tuesday:\u003c/strong> Marin County sheriff's officials are planning an 11 a.m. press conference on the death of comedian and actor Robin Williams. We don't know yet what information they'll release on the circumstances surrounding what they've described as an apparent suicide.\u003c/p>\n\u003cp>Meantime, an outpouring of shock and grief continues from family, friends, fellow performers and a long roster of public officials, including President Obama. \u003ca href=\"http://www.whitehouse.gov/blog/2014/08/11/president-obama-passing-robin-williams-he-was-one-kind\" target=\"_blank\">In a statement issued by the White House\u003c/a>, the president said:\u003c/p>\n\u003cblockquote>\u003cp>Robin Williams was an airman, a doctor, a genie, a nanny, a president, a professor, a bangarang Peter Pan, and everything in between. But he was one of a kind. He arrived in our lives as an alien -- but he ended up touching every element of the human spirit. He made us laugh. He made us cry. He gave his immeasurable talent freely and generously to those who needed it most -- from our troops stationed abroad to the marginalized on our own streets. The Obama family offers our condolences to Robin’s family, his friends, and everyone who found their voice and their verse thanks to Robin Williams.\u003c/p>\u003c/blockquote>\n\u003cp>San Francisco Mayor Ed Lee issued his own statement, praising Williams' generosity in giving to a wide range of causes. In addition to participating in benefits for organizations that included San Francisco's Project Open Hand and Neil Young's Bridge Foundation, Williams started his own foundation to donate money to Doctors Without Borders, the Livestrong Foundation and the Elizabeth Glaser Pediatric AIDS Foundation.\u003c/p>\n\u003cp>Sen. Barbara Boxer, like Williams a resident of Marin County, also issued a statement Tuesday:\u003c/p>\n\u003cblockquote>\u003cp>\"I send the heartfelt condolences of my entire family to Robin Williams' family as our entire country mourns the loss of this remarkable genius who made us smile, laugh uncontrollably or cry.\u003c/p>\n\u003cp>\"His ability to connect with everyone was a rare gift indeed. We will always remember Robin and we must also rededicate ourselves to helping each other through the dark times.\"\u003c/p>\u003c/blockquote>\n\u003cp>Among fellow performers reacting to Williams' death was comedian Chevy Chase -- who said they shared more than just their profession in common:\u003c/p>\n\u003cblockquote>\u003cp>\"Robin and I were great friends, suffering from the same little-known disease: depression. I never could have expected this ending to his life and to ours with him. God bless him and God bless us all for his LIFE! I cannot believe this. I am overwhelmed with grief. What a wonderful man/boy and what a tremendous talent in the most important art of any time — comedy! I loved him,\" actor and comedian Chevy Chase said in a statement.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>Original post:\u003c/strong> Marin County authorities say actor and comedian Robin Williams has died.\u003c/p>\n\u003cp>[contextly_sidebar id=\"vHmmqd7Qe4Uwmu5ta9RXeTlVGJdRitTi\"]\u003c/p>\n\u003cp>The Marin County Sheriff's Office reported that emergency responders found Williams in his Tiburon home after getting a call just before noon Monday that he had been found unconscious and not breathing.\u003c/p>\n\u003cp>The sheriff's coroner's division said Williams apparently took his own life, though it cautioned that its investigation is ongoing.\u003c/p>\n\u003cp>Both Williams' wife and publicist confirmed his death.\u003ca href=\"http://www.hollywoodreporter.com/news/robin-williams-dies-suspected-suicide-724724\" target=\"_blank\"> From the Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Williams' publicist Mara Buxbaum told The Hollywood Reporter: \"Robin Williams passed away this morning. He has been battling severe depression of late. This is a tragic and sudden loss. The family respectfully asks for their privacy as they grieve during this very difficult time.\"\u003c/p>\n\u003cp>His wife, Susan Schneider, said: \"This morning, I lost my husband and my best friend, while the world lost one of its most beloved artists and beautiful human beings. I am utterly heartbroken. On behalf of Robin's family, we are asking for privacy during our time of profound grief. As he is remembered, it is our hope the focus will not be on Robin's death, but on the countless moments of joy and laughter he gave to millions.\"\u003c/p>\u003c/blockquote>\n\u003cp>Williams was in the news last month when gossip news site \u003ca href=\"http://www.tmz.com/2014/07/01/robin-williams-actor-rehab-photo-rehab-drugs-alcohol/\" target=\"_blank\">TMZ reported \u003c/a>that he was at \u003ca href=\"http://www.hazelden.org/\" target=\"blank\">Hazelden, an addiction treatment center\u003c/a> in Minnesota, to maintain his sobriety.\u003c/p>\n\u003cp>Williams' representative told reporters at the time, \"After working back-to-back projects, Robin is simply taking the opportunity to fine-tune and focus on his continued commitment, of which he remains extremely proud.\"\u003c/p>\n\u003cp>Williams was open about his issues with alcohol and cocaine addiction. As recounted in the Los Angeles Times recently:\u003c/p>\n\u003cblockquote>\u003cp>Williams ... previously spent time on a Hazelden campus in Oregon back in 2006. He later explained that drinking had gradually become a problem again after 20 years of sobriety.\u003c/p>\n\u003cp>\"You're standing at a precipice and you look down, there's a voice and it's a little quiet voice that goes, 'Jump,' \" the \"Mrs. Doubtfire\" star told ABC News in October of that year. \"The same voice that goes, 'Just one.' … And the idea of just one for someone who has no tolerance for it, that's not the possibility.\"\u003c/p>\u003c/blockquote>\n\u003cp>Williams' latest movie, \"Night at the Museum: Secret of the Tomb,\" is in post-production and due for release in December. Here's how the Hollywood Reporter sums up Williams' career in \u003ca href=\"http://www.hollywoodreporter.com/news/robin-williams-dies-suspected-suicide-724724\" target=\"_blank\">its obituary\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>A dazzling comic force whose career extended from stand-up to a major acting career, Williams' comedic talents were so quick and brilliant that he often intimidated other comedians. His improv skills were meteoric and stupefying: Williams could wing off the cuff better than any of his peers. He burst through the stand-up world into television, captivating audiences with his portrayal of the endearing extraterrestrial Mork in the '70s series \u003cem>Mork and Mindy\u003c/em>. He first limned the Mork role as a guest star on \u003cem>Happy Days\u003c/em>.\u003c/p>\n\u003cp>He fractured movies audiences with his comedic and endearing performance in \u003cem>Good Morning, Vietnam\u003c/em> (1987). He delighted audiences in the box-office hit \u003cem>The Birdcage\u003c/em> (1996), playing a gay club owner who tries to convince his conservative, future in-laws of his heterosexual mainstream values. He tapped into a fey side and feminine side, as well: He delighted with his slapstick values as a hausfrau in \u003cem>Mrs. Doubtfire \u003c/em>(1993).\u003c/p>\n\u003cp>His rapid-fire delivery bespoke a warp-speed, associative intelligence.\u003c/p>\n\u003cp>“The mystery is in the motion: What miracle of the synapses got him from point A to point Z? At once a satirist, a comedian and a superb actor, this one-man repertory company dashes from mask to mask, voice to voice, like a man possessed by comic demons,” David Ansen wrote in Newsweek in 1986.\u003c/p>\u003c/blockquote>\n\u003cp>Williams returned to network television last year in a CBS sitcom called \u003cem>The Crazy Ones\u003c/em>. It was canceled after a single season. He said in \u003ca href=\"http://parade.condenast.com/154817/dotsonrader/robin-williams-on-returning-to-tv-getting-sober-and-downsizing-in-his-60s/\" target=\"_blank\">an interview with Parade magazine last year\u003c/a> that he was motivated to do the series in part because of financial challenges:\u003c/p>\n\u003cblockquote>\u003cp>“The idea of having a steady job is appealing. I have two [other] choices: go on the road doing stand-up, or do small, independent movies working almost for scale [minimum union pay]. The movies are good, but a lot of times they don’t even have distribution. There are bills to pay. My life has downsized, in a good way. I’m selling the ranch up in Napa. I just can’t afford it anymore.”\u003c/p>\u003c/blockquote>\n\u003cp>Asked whether he \"lost all his money in his two divorces, Williams said: “Well, not all. Lost enough. Divorce is expensive. I used to joke they were going to call it ‘all the money,’ but they changed it to ‘alimony.’ It’s ripping your heart out through your wallet. Are things good with my exes? Yes. But do I need that lifestyle? No.”\u003c/p>\n\u003cp>Here's the complete statement on Williams' death released Monday from the Marin Sheriff's Office:\u003c/p>\n\u003cblockquote>\u003cp>On August 11, 2014, at approximately 11:55 am, Marin County Communications received a 9-1-1 telephone call reporting a male adult had been located unconscious and not breathing inside his residence in unincorporated Tiburon, CA. The Sheriff’s Office, as well as the Tiburon Fire Department and Southern Marin Fire Protection District were dispatched to the incident with emergency personnel arriving on scene at 12:00 pm. The male subject, pronounced deceased at 12:02 pm has been identified as Robin McLaurin Williams, a 63 year old resident of unincorporated Tiburon, CA.\u003c/p>\n\u003cp>An investigation into the cause, manner, and circumstances of the death is currently underway by the Investigations and Coroner Divisions of the Sheriff’s Office. Preliminary information developed during the investigation indicates Mr. Williams was last seen alive at his residence, where he resides with his wife, at approximately 10 p.m. on Aug. 10, 2014.\u003c/p>\n\u003cp>Mr. Williams was located this morning shortly before the 9-1-1 call was placed to Marin County Communications. At this time, the Sheriff’s Office Coroner Division suspects the death to be a suicide due to asphyxia, but a comprehensive investigation must be completed before a final determination is made. A forensic examination is currently scheduled for August 12, 2014 with subsequent toxicology testing to be conducted.\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca id=\"williamscoroner\">\u003c/a>\u003ciframe id=\"doc_68553\" class=\"scribd_iframe_embed\" src=\"//www.scribd.com/embeds/236634017/content?start_page=1&view_mode=scroll&show_recommendations=true\" width=\"100%\" height=\"600\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_144548\" class=\"wp-caption aligncenter\" style=\"max-width: 561px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/08/robinwilliams.png\">\u003cimg class=\"size-full wp-image-144548\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/08/robinwilliams.png\" alt=\"An Instagram photo comedian and actor Robin Williams posted on his last birthday, July 21. The caption: 'Happy Birthday to me! A visit from one of my favorite leading ladies, Crystal.'\" width=\"561\" height=\"564\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An Instagram photo that comedian and actor Robin Williams posted on his last birthday, July 21. The caption: 'Happy Birthday to me! A visit from one of my favorite leading ladies, Crystal.'\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Update, 12 p.m. Thursday: \u003c/strong>Robin Williams was in the early stages of Parkinson's disease, his wife said in a statement Thursday, and he had not relapsed into drinking alcohol.\u003c/p>\n\u003cp>\"Robin's sobriety was intact and he was brave as he struggled with his own battles of depression, anxiety as well as early stages of Parkinson's disease, which he was not yet ready to share publicly,\" Susan Schneider said.\u003c/p>\n\u003cp>Parkinson's disease is a progressive disorder of the nervous system that often is first noticed through trembling hands.\u003c/p>\n\u003cp>\u003cstrong>Update, 11:30 a.m. Tuesday: \u003c/strong> Marin County sheriff's officials say that actor and comedian Robin Williams, found dead at his Tiburon home at midday Monday, hanged himself. Here are the relevant details \u003ca href=\"http://www.sfgate.com/bayarea/article/More-details-to-be-released-in-Robin-Williams-5683229.php\" target=\"_blank\">by way of the San Francisco Chronicle, which reports that Williams' body was discovered by his personal assistant\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>The assistant became concerned about 11:45 a.m. Monday after Williams, 63, failed to answer knocks at his bedroom door, said Marin County sheriff's Lt. Keith Boyd.\u003c/p>\n\u003cp>The assistant entered the room and found Williams \"unresponsive with a belt secured around his neck, with the other end of the belt wedged between the clothes closet door and the door frame,\" Boyd said.\u003c/p>\u003c/blockquote>\n\u003cp>The complete statement from the sheriff's office \u003ca href=\"#williamscoroner\">is embedded below\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Update, 9:25 a.m. Tuesday:\u003c/strong> Marin County sheriff's officials are planning an 11 a.m. press conference on the death of comedian and actor Robin Williams. We don't know yet what information they'll release on the circumstances surrounding what they've described as an apparent suicide.\u003c/p>\n\u003cp>Meantime, an outpouring of shock and grief continues from family, friends, fellow performers and a long roster of public officials, including President Obama. \u003ca href=\"http://www.whitehouse.gov/blog/2014/08/11/president-obama-passing-robin-williams-he-was-one-kind\" target=\"_blank\">In a statement issued by the White House\u003c/a>, the president said:\u003c/p>\n\u003cblockquote>\u003cp>Robin Williams was an airman, a doctor, a genie, a nanny, a president, a professor, a bangarang Peter Pan, and everything in between. But he was one of a kind. He arrived in our lives as an alien -- but he ended up touching every element of the human spirit. He made us laugh. He made us cry. He gave his immeasurable talent freely and generously to those who needed it most -- from our troops stationed abroad to the marginalized on our own streets. The Obama family offers our condolences to Robin’s family, his friends, and everyone who found their voice and their verse thanks to Robin Williams.\u003c/p>\u003c/blockquote>\n\u003cp>San Francisco Mayor Ed Lee issued his own statement, praising Williams' generosity in giving to a wide range of causes. In addition to participating in benefits for organizations that included San Francisco's Project Open Hand and Neil Young's Bridge Foundation, Williams started his own foundation to donate money to Doctors Without Borders, the Livestrong Foundation and the Elizabeth Glaser Pediatric AIDS Foundation.\u003c/p>\n\u003cp>Sen. Barbara Boxer, like Williams a resident of Marin County, also issued a statement Tuesday:\u003c/p>\n\u003cblockquote>\u003cp>\"I send the heartfelt condolences of my entire family to Robin Williams' family as our entire country mourns the loss of this remarkable genius who made us smile, laugh uncontrollably or cry.\u003c/p>\n\u003cp>\"His ability to connect with everyone was a rare gift indeed. We will always remember Robin and we must also rededicate ourselves to helping each other through the dark times.\"\u003c/p>\u003c/blockquote>\n\u003cp>Among fellow performers reacting to Williams' death was comedian Chevy Chase -- who said they shared more than just their profession in common:\u003c/p>\n\u003cblockquote>\u003cp>\"Robin and I were great friends, suffering from the same little-known disease: depression. I never could have expected this ending to his life and to ours with him. God bless him and God bless us all for his LIFE! I cannot believe this. I am overwhelmed with grief. What a wonderful man/boy and what a tremendous talent in the most important art of any time — comedy! I loved him,\" actor and comedian Chevy Chase said in a statement.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>Original post:\u003c/strong> Marin County authorities say actor and comedian Robin Williams has died.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Marin County Sheriff's Office reported that emergency responders found Williams in his Tiburon home after getting a call just before noon Monday that he had been found unconscious and not breathing.\u003c/p>\n\u003cp>The sheriff's coroner's division said Williams apparently took his own life, though it cautioned that its investigation is ongoing.\u003c/p>\n\u003cp>Both Williams' wife and publicist confirmed his death.\u003ca href=\"http://www.hollywoodreporter.com/news/robin-williams-dies-suspected-suicide-724724\" target=\"_blank\"> From the Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Williams' publicist Mara Buxbaum told The Hollywood Reporter: \"Robin Williams passed away this morning. He has been battling severe depression of late. This is a tragic and sudden loss. The family respectfully asks for their privacy as they grieve during this very difficult time.\"\u003c/p>\n\u003cp>His wife, Susan Schneider, said: \"This morning, I lost my husband and my best friend, while the world lost one of its most beloved artists and beautiful human beings. I am utterly heartbroken. On behalf of Robin's family, we are asking for privacy during our time of profound grief. As he is remembered, it is our hope the focus will not be on Robin's death, but on the countless moments of joy and laughter he gave to millions.\"\u003c/p>\u003c/blockquote>\n\u003cp>Williams was in the news last month when gossip news site \u003ca href=\"http://www.tmz.com/2014/07/01/robin-williams-actor-rehab-photo-rehab-drugs-alcohol/\" target=\"_blank\">TMZ reported \u003c/a>that he was at \u003ca href=\"http://www.hazelden.org/\" target=\"blank\">Hazelden, an addiction treatment center\u003c/a> in Minnesota, to maintain his sobriety.\u003c/p>\n\u003cp>Williams' representative told reporters at the time, \"After working back-to-back projects, Robin is simply taking the opportunity to fine-tune and focus on his continued commitment, of which he remains extremely proud.\"\u003c/p>\n\u003cp>Williams was open about his issues with alcohol and cocaine addiction. As recounted in the Los Angeles Times recently:\u003c/p>\n\u003cblockquote>\u003cp>Williams ... previously spent time on a Hazelden campus in Oregon back in 2006. He later explained that drinking had gradually become a problem again after 20 years of sobriety.\u003c/p>\n\u003cp>\"You're standing at a precipice and you look down, there's a voice and it's a little quiet voice that goes, 'Jump,' \" the \"Mrs. Doubtfire\" star told ABC News in October of that year. \"The same voice that goes, 'Just one.' … And the idea of just one for someone who has no tolerance for it, that's not the possibility.\"\u003c/p>\u003c/blockquote>\n\u003cp>Williams' latest movie, \"Night at the Museum: Secret of the Tomb,\" is in post-production and due for release in December. Here's how the Hollywood Reporter sums up Williams' career in \u003ca href=\"http://www.hollywoodreporter.com/news/robin-williams-dies-suspected-suicide-724724\" target=\"_blank\">its obituary\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>A dazzling comic force whose career extended from stand-up to a major acting career, Williams' comedic talents were so quick and brilliant that he often intimidated other comedians. His improv skills were meteoric and stupefying: Williams could wing off the cuff better than any of his peers. He burst through the stand-up world into television, captivating audiences with his portrayal of the endearing extraterrestrial Mork in the '70s series \u003cem>Mork and Mindy\u003c/em>. He first limned the Mork role as a guest star on \u003cem>Happy Days\u003c/em>.\u003c/p>\n\u003cp>He fractured movies audiences with his comedic and endearing performance in \u003cem>Good Morning, Vietnam\u003c/em> (1987). He delighted audiences in the box-office hit \u003cem>The Birdcage\u003c/em> (1996), playing a gay club owner who tries to convince his conservative, future in-laws of his heterosexual mainstream values. He tapped into a fey side and feminine side, as well: He delighted with his slapstick values as a hausfrau in \u003cem>Mrs. Doubtfire \u003c/em>(1993).\u003c/p>\n\u003cp>His rapid-fire delivery bespoke a warp-speed, associative intelligence.\u003c/p>\n\u003cp>“The mystery is in the motion: What miracle of the synapses got him from point A to point Z? At once a satirist, a comedian and a superb actor, this one-man repertory company dashes from mask to mask, voice to voice, like a man possessed by comic demons,” David Ansen wrote in Newsweek in 1986.\u003c/p>\u003c/blockquote>\n\u003cp>Williams returned to network television last year in a CBS sitcom called \u003cem>The Crazy Ones\u003c/em>. It was canceled after a single season. He said in \u003ca href=\"http://parade.condenast.com/154817/dotsonrader/robin-williams-on-returning-to-tv-getting-sober-and-downsizing-in-his-60s/\" target=\"_blank\">an interview with Parade magazine last year\u003c/a> that he was motivated to do the series in part because of financial challenges:\u003c/p>\n\u003cblockquote>\u003cp>“The idea of having a steady job is appealing. I have two [other] choices: go on the road doing stand-up, or do small, independent movies working almost for scale [minimum union pay]. The movies are good, but a lot of times they don’t even have distribution. There are bills to pay. My life has downsized, in a good way. I’m selling the ranch up in Napa. I just can’t afford it anymore.”\u003c/p>\u003c/blockquote>\n\u003cp>Asked whether he \"lost all his money in his two divorces, Williams said: “Well, not all. Lost enough. Divorce is expensive. I used to joke they were going to call it ‘all the money,’ but they changed it to ‘alimony.’ It’s ripping your heart out through your wallet. Are things good with my exes? Yes. But do I need that lifestyle? No.”\u003c/p>\n\u003cp>Here's the complete statement on Williams' death released Monday from the Marin Sheriff's Office:\u003c/p>\n\u003cblockquote>\u003cp>On August 11, 2014, at approximately 11:55 am, Marin County Communications received a 9-1-1 telephone call reporting a male adult had been located unconscious and not breathing inside his residence in unincorporated Tiburon, CA. The Sheriff’s Office, as well as the Tiburon Fire Department and Southern Marin Fire Protection District were dispatched to the incident with emergency personnel arriving on scene at 12:00 pm. The male subject, pronounced deceased at 12:02 pm has been identified as Robin McLaurin Williams, a 63 year old resident of unincorporated Tiburon, CA.\u003c/p>\n\u003cp>An investigation into the cause, manner, and circumstances of the death is currently underway by the Investigations and Coroner Divisions of the Sheriff’s Office. Preliminary information developed during the investigation indicates Mr. Williams was last seen alive at his residence, where he resides with his wife, at approximately 10 p.m. on Aug. 10, 2014.\u003c/p>\n\u003cp>Mr. Williams was located this morning shortly before the 9-1-1 call was placed to Marin County Communications. At this time, the Sheriff’s Office Coroner Division suspects the death to be a suicide due to asphyxia, but a comprehensive investigation must be completed before a final determination is made. A forensic examination is currently scheduled for August 12, 2014 with subsequent toxicology testing to be conducted.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Robin Williams, Groundbreaking Comedian and Actor, Dead at 63",
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"content": "\u003cp>Legendary comic and actor Robin Williams was found dead Monday morning in his Tiburon home in an apparent suicide, according to the Marin County Sheriff’s department. He was 63.\u003c/p>\n\u003cp>Though the cause of death was still pending as of Monday afternoon, but the Marin County Coroner’s office was reported saying a preliminary investigation found Williams had died of suicide by asphyxiation. An autopsy was scheduled for Tuesday morning, according to the Marin Independent Journal.\u003c/p>\n\u003cp>“Robin Williams passed away this morning. He has been battling severe depression of late,” said Williams’ publicist Mara Buxbaum to \u003ca href=\"http://www.hollywoodreporter.com/news/robin-williams-dies-suspected-suicide-724724\"> \u003ci>The Hollywood Reporter.\u003c/i>\u003c/a> “This is a tragic and sudden loss. The family respectfully asks for their privacy as they grieve during this very difficult time.”\u003c/p>\n\u003cp>Williams, a stand-up comedian who got his start in the Bay Area, moved on to acting soon after his star was on the rise and became a massive box office draw with movies such as \u003ci>Awakenings,\u003c/i> \u003ci>The Fisher King\u003c/i> and \u003ci>The Dead Poets Society.\u003c/i> He won an Oscar in 1997 for his performance in the movie \u003ci>Good Will Hunting.\u003c/i>\u003c/p>\n\u003cp>“I could not be more stunned by the loss of Robin Williams, mensch, great talent, acting partner, genuine soul,” tweeted Steve Martin (@SteveMartinToGo).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For an example of his comedic genius, here is a clip of him doing stand up in 2008.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s13I5y1VKos \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>For more on Williams’ death and the resulting investigation, follow the story on \u003ca href=\"http://ww2.kqed.org/news/2014/08/11/robin-williams-iconic-comedian-and-actor-found-dead/\" target=\"_blank\" rel=\"noopener\">NewsFix.\u003c/a>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Legendary comic and actor Robin Williams was found dead Monday morning in his Tiburon home in an apparent suicide, according to the Marin County Sheriff’s department. He was 63.\u003c/p>\n\u003cp>Though the cause of death was still pending as of Monday afternoon, but the Marin County Coroner’s office was reported saying a preliminary investigation found Williams had died of suicide by asphyxiation. An autopsy was scheduled for Tuesday morning, according to the Marin Independent Journal.\u003c/p>\n\u003cp>“Robin Williams passed away this morning. He has been battling severe depression of late,” said Williams’ publicist Mara Buxbaum to \u003ca href=\"http://www.hollywoodreporter.com/news/robin-williams-dies-suspected-suicide-724724\"> \u003ci>The Hollywood Reporter.\u003c/i>\u003c/a> “This is a tragic and sudden loss. The family respectfully asks for their privacy as they grieve during this very difficult time.”\u003c/p>\n\u003cp>Williams, a stand-up comedian who got his start in the Bay Area, moved on to acting soon after his star was on the rise and became a massive box office draw with movies such as \u003ci>Awakenings,\u003c/i> \u003ci>The Fisher King\u003c/i> and \u003ci>The Dead Poets Society.\u003c/i> He won an Oscar in 1997 for his performance in the movie \u003ci>Good Will Hunting.\u003c/i>\u003c/p>\n\u003cp>“I could not be more stunned by the loss of Robin Williams, mensch, great talent, acting partner, genuine soul,” tweeted Steve Martin (@SteveMartinToGo).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For an example of his comedic genius, here is a clip of him doing stand up in 2008.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s13I5y1VKos \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>For more on Williams’ death and the resulting investigation, follow the story on \u003ca href=\"http://ww2.kqed.org/news/2014/08/11/robin-williams-iconic-comedian-and-actor-found-dead/\" target=\"_blank\" rel=\"noopener\">NewsFix.\u003c/a>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Can San Francisco's Video Stores Be Saved?",
"headTitle": "Can San Francisco’s Video Stores Be Saved? | KQED",
"content": "\u003cp>You have to keep in mind just how few options there were back then. I’m talking pre-‘80s, before the VCR became the first in a long line of accessories to turn your TV into the culture’s central nervous system of escapism. You could go to retro houses or watch truncated old movies on television (interrupted by mood-shattering commercials). But those were essentially passive choices; you might find \u003cem>Citizen Kane\u003c/em>, or it might be \u003cem>Abbott and Costello Meet The Mummy\u003c/em>. You watched for a variety of reasons, one of them being “because it’s there.”\u003c/p>\n\u003cp>That is why I remember my first visit to a video store as a sort of cornucopian dream, a lavish spectacle that satisfied a deeply rooted desire. Dorothy’s first glimpse of Oz, exploding with color after a life of rural black and white. Or that famous \u003ci>Twilight Zone\u003c/i>, when the suicidal bookworm and lone survivor of a nuclear war otherwise known as Burgess Meredith \u003ca href=\"http://youtu.be/UAxARJyaTEA\" target=\"_blank\" rel=\"noopener\">happens upon the intact contents\u003c/a> of the New York Public Library.\u003c/p>\n\u003cp>http://youtu.be/x6D8PAGelN8\u003c/p>\n\u003cp>What’ll it be today? \u003cem>The Seventh Seal\u003c/em>, \u003cem>Bicycle Thieves\u003c/em>, \u003cem>8 1/2\u003c/em>? Or maybe something in a Renoir? And here’s \u003cem>Force of Evil\u003c/em>, that overlooked noir you’ve been dying to see.\u003c/p>\n\u003cp>Kid, meet candy store.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fast forward (or drag your mental scroll bar) to the present, when the video store remains pleasingly but inefficiently concrete, a physical holdout in an age when websites and servers have made instant gratification of your visual narrative needs de rigueur. Once the stuff that dreams are made of, the video store is now the most endangered species in the present media ecosystem, a relic mostly fit for frequenting by grandparents and technophobes.\u003c/p>\n\u003cp>Or so the numbers say. Reading a \u003ca href=\"http://www.ibisworld.com/industry/default.aspx?indid=1370\" target=\"_blank\" rel=\"noopener\">recent analysis of the industry\u003c/a> by business forecasting firm IBIS World is like looking over the last section of one of those obituaries news organizations prepare when someone is about to kick. The industry is in “the declining stage of its life cycle,” the report says. In 2005, nearly 23,000 video stores did business in the U.S. Today it’s 9,000, on the way to a predicted 4,000 in 2019. “Revenue contraction shows no signs of abating over 2014,” it continues, with sales anticipated to fall (another) 17 percent. Nine years ago, the industry employed close to 158,000 people. Today it’s 47,000, with about two-thirds of those jobs predicted to be gone with the wind five years from now.\u003c/p>\n\u003ch4>Local Stores Hanging On\u003c/h4>\n\u003cp>But it ain’t over till it’s over, and it ain’t over quite yet. A handful of video stores remain in San Francisco, though to talk to their owners is to very much wonder for how long. Their predicament has started to gain attention, especially with the \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=134827\" target=\"_blank\" rel=\"noopener\">near-closure of Le Video\u003c/a>, long a haven for cinephiles. Even AP \u003ca href=\"http://www.usatoday.com/videos/money/business/2014/06/13/10410219/\" target=\"_blank\" rel=\"noopener\">visited the city this summer\u003c/a> to check in on the survivors.\u003c/p>\n\u003cp>Here’s a status report on four of San Francisco’s most enduring video stores: Faye’s, Lost Weekend, Video Wave and Le Video.\u003c/p>\n\u003cfigure id=\"attachment_10139804\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/fayes.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/fayes.jpg\" alt=\"Faye's famous sandwich board\" width=\"640\" height=\"857\" class=\"size-full wp-image-10139804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/fayes.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/fayes-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/fayes-224x300.jpg 224w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Faye’s famous sandwich board\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Faye’s Video, 3614 18TH Street between Guerrero and Dolores\u003c/b>\u003c/p>\n\u003cp>Officially called Faye’s Video & Espresso Bar, it’s the latter part of that combo keeping the store afloat. That wasn’t always the case, says co-owner Matthew Troy. Six or seven years ago, movie rentals made up two-thirds of the business; now they account for just a quarter.\u003c/p>\n\u003cp>Troy says the store has seen a steady decline in rentals since a peak in 2008, estimating the business is down 60 percent since then. In the past year, a sharp decrease has sent video revenue to new lows.\u003c/p>\n\u003cp>Traditionally, the store saw about 100 new accounts created per month. But in a short period of time last summer, that number dropped. “It went to 100 to 90 to 60 and 50. Now we have literally half the amount of people coming in.”\u003c/p>\n\u003cp>Why such a precipitous drop? Troy thinks the change in people’s retail habits finally hit critical mass. “Netflix has been around for years, so something else is going on,” he says. “People live in areas without video stores, so when they move to San Francisco, their habit is already in place. We get people here all the time that say this is so ‘old school.’ I tell people we’re not selling Rubik’s Cubes, we don’t have Go-Gos posters up. It’s interesting how people turn on a place they would love to go to, and they’re just like ‘nope moving on to streaming on my phone or computer.’”\u003c/p>\n\u003cp>That technology has come of age, he realizes. “Four to five years ago streaming wasn’t as good; now you’ve got moms and dads streaming.”\u003c/p>\n\u003cp>Troy says the store could still make it on coffee sales if his video rental business collapsed completely. He and his partner have been talking about rearranging the interior so movies take up less space. “I’ve done the math to see if it was worth still having movies for the hours (put in),” he says.\u003c/p>\n\u003cp>It’s no surprise that Faye’s rent went up 50 percent recently. The store is located on one of the blocks that make the Valencia Corridor area so appealing to affluent newcomers, with Dolores Park on one end of the street, Tartine Bakery on the other, and Deflina restaurant and Bi-Rite Market in between. The store currently helps defray costs by subletting to popup stores.\u003c/p>\n\u003cp>Troy says he doesn’t like the thought of ending the movie business, though he and his partner have had those discussions. On some days “it’s like there are tumbleweeds coming in,” he says. “But there are still 500-600 people who rent from the store. I’m not ready to tell them to go online. You get those times they’re so excited to come to a video store. Like a six-year-old, with \u003ci>Little Mermaid\u003c/i> or something. They can actually hold the box and there’s a book. It’s a tangible place where people can discuss and look at it.\u003c/p>\n\u003cp>“But we can’t be in business to just have these stories once a month. We have to be smart about it.”\u003c/p>\n\u003cfigure id=\"attachment_10139987\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/videowave.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/videowave.jpg\" alt=\"Video Wave's building in Noe Valley gets a facelift; Photo by Colin Hutton\" width=\"640\" height=\"480\" class=\"size-full wp-image-10139987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/videowave.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/videowave-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/videowave-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Video Wave’s building in Noe Valley gets a facelift; Photo by Colin Hutton\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Video Wave of Noe Valley, 1431 Castro Street, between 25th & Jersey\u003c/b>\u003c/p>\n\u003cp>“We’re barely scraping by,” says Gwen Sanderson, a co-owner of Video Wave for 10 years. A moment later she amends that: “We aren’t really.”\u003c/p>\n\u003cp>Ominously, the store’s 10-year lease is up soon, and Video Wave doesn’t have the space to sublet to another retailer.\u003c/p>\n\u003cp>“We’ve been able to stay here because our landlord kept the rent affordable,” she says. “But we’re likely going to see a huge increase. We don’t know what’s going to happen. We’re putting out a letter to customers now letting them know what the situation is in case they want to get involved.”\u003c/p>\n\u003cp>Sanderson rattles off the names of local video stores that have closed over the years: Dr. Video, Naked Eye, Top World Video. In 2005, she says, two competitors coexisted within five blocks of her alone.\u003c/p>\n\u003cp>She thinks the industry has long needed a new business model. “The model was this is the only place you can get movies outside the theater. As soon as that changed, it needed to be tweaked.”\u003c/p>\n\u003cp>She would like the city to get involved in helping video stores survive, perhaps housing the entirety of the stores’ collections in one central location, then rotating titles through different neighborhoods in moviemobiles.\u003c/p>\n\u003cp>For now, that’s a pipe dream. But Sanderson thinks there’s a compelling cultural interest in preserving the 30 years worth of titles that the remaining video stores have collected. She says stores have many titles that simply aren’t available online, which would have to be purchased at high prices in order to be viewed, should they become un-rentable. She even wrote a press release in an attempt to start a conversation about the issue.\u003c/p>\n\u003cp>“The residents of San Francisco have access to every movie available for home viewing…. mainly held at locally owned video stores,” it reads. “If the last stores close in San Francisco, we will all lose access to a large percentage of what we currently have.”\u003c/p>\n\u003cfigure id=\"attachment_10139805\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/lostweekend.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/lostweekend.jpg\" alt=\"Lost Weekend video in the heart of SF's Mission district\" width=\"640\" height=\"428\" class=\"size-full wp-image-10139805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/lostweekend.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/lostweekend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/lostweekend-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lost Weekend video in the heart of SF’s Mission district\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Lost Weekend Video, 1034 Valencia Street, between 21st and Hill\u003c/b>\u003c/p>\n\u003cp>The store’s steady decline in business started around 2008 amid the financial crisis and subsequent Great Recession, says co-owner David Hawkins. Business has fallen roughly 60 percent since then.\u003c/p>\n\u003cp>Lost Weekend sits among the upscale eateries and boutiques that have so transformed the Valencia Corridor. But high rent is not the problem, Hawkins says. The problem is people just aren’t renting anymore and they’re not renting in increasing numbers.\u003c/p>\n\u003cp>“It’s been down 10-15 percent each year, and we were calculating that into our math of figuring out what to do,” he says. “And then it just plummeted even further. We figured there’s got to be a bottom at some point. But there hasn’t been.”\u003c/p>\n\u003cp>Like Faye’s Matthew Troy, Hawkins sees the habits of the new demographic pouring into the neighborhood as the main problem.\u003c/p>\n\u003cp>“I used to know 90 percent of the people who walk by. Now it’s down to 5-10 percent. Everyone comes home on their buses from Google, gets on their email and computer, then goes to bed. There are fewer people leaving their houses.”\u003c/p>\n\u003cp>Hawkins says that five or six years ago, he tried to organize retailers around the catastrophe he was sure was on its way. “I went around with a little notebook to every record store, video store, and bookstore in the city, trying to get a p.r. campaign. Everyone was intrigued by it, but it was like herding cats.”\u003c/p>\n\u003cp>The store has tweaked its business over the years in response. Its 25,000 titles can now be rented for five days instead of two. And a space featuring live comedy has helped keep it solvent.\u003c/p>\n\u003cp>A month ago the store posted an SOS on its Facebook page, saying it was facing an “immediate crisis.” Nothing’s changed since then.\u003c/p>\n\u003cp>“It’s to the point where we don’t have any cushion,” Hawkins says. “If anything goes wrong, we don’t have the resources. If something breaks and it’s a 40-buck replacement because it’s out of print, we have to really wrestle with if we can afford it.”\u003c/p>\n\u003cp>He makes an appeal for customers to patronize their friendly neighborhood retailers, whatever they may be. The issue is something much larger than the imminent disappearance of an obsolete media model, he says.\u003c/p>\n\u003cp>“When people hear us complaining about our business going under, they’re like, ‘so what? It’s just a video store.’ But when you start piecing it together with record stores that have been around 70 years, and bookstores for hundreds of years, then you’re starting to get through what the problem really is. Everyone buys their shoes from Zappos, for instance. You used to be able to open this little shoe store in whatever town and make a living.”\u003c/p>\n\u003cp>Hawkins does not like Netflix. Video stores used to employ 150,000 people in the country, he notes; Netflix employs 2,000. He sees the choice of where you get your TV and movies as a political one.\u003c/p>\n\u003cp>“If Walmart plunked a store down in the middle of San Francisco, most people would go out of their way not to shop there. But for some reason, people don’t have that mindset about Amazon, Netflix and Apple. They’re bigger than Walmart now, humongous corporations.”\u003c/p>\n\u003cfigure id=\"attachment_10139988\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/levideo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/levideo.jpg\" alt=\"In the middle of Le Video's remodel. Same location, just one floor up.\" width=\"640\" height=\"480\" class=\"size-full wp-image-10139988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/levideo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/levideo-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/levideo-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">In the middle of Le Video’s remodel. Same location, just one floor up.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Le Video, 1231 9th Avenue, between Irving and Lincoln\u003c/b>\u003c/p>\n\u003cp>If there’s a shred of hope for brick and mortar movie rental stores, you can find it in the public response to the news that Le Video was about to turn out the lights — and not just to watch a movie. Practically a cultural institution because of its insanely copious collection, Le Video was long a must-visit for any cinephile looking for rarer titles.\u003c/p>\n\u003cp>But in March, the store’s owner, Catherine Tchen, wrote on Facebook that barring a “miracle,” she would shut down at the end of April 2014. At the time, I talked to the store’s buyer, longtime employee John Taylor, who said Le Video had been losing money for years, and Tchen could no longer afford to house its money-losing 80-90,000 titles on the large ground floor in lieu of renting it out.\u003c/p>\n\u003cp>So the plan was to move the collection to a smaller upstairs area. The store launched an \u003ca href=\"//www.indiegogo.com/projects/save-le-video-a-sf-film-institution%E2%80%9D\">Indiegogo campaign\u003c/a> to finance the transition, setting a goal of $35,000. It hit that mark in just 13 days, blasting past to a final total of $60,000, including $10,000 from \u003cem>Lemony Snicket\u003c/em> author Daniel Handler. Green Apple Books, a store with a similarly passionate customer base, is moving into Le Video’s former ground floor space. Green Apple Books opened on Aug. 1, while Le Video was set to open on Friday, Aug. 8, barring any additional delays.\u003c/p>\n\u003cp>Le Video is now feeling a bit flush, posting a Facebook message during the remodeling about “new Internet and new phones… that will actually work when you call us…”\u003c/p>\n\u003cp>Taylor says the money also went to hiring staff, building shelves, ordering materials for construction, and runs to the dump. Not to mention “little plastic sleeves that cost a shocking amount of money.”\u003c/p>\n\u003cp>But don’t expect the same browsing experience, once so pleasing to those who made special trips just to walk among the grotto-like arrangement of overflowing shelves. The upstairs space is about a third the size, Taylor says. All the plastic cases that housed the DVDs and Blu-rays have been discarded; you will have to conduct your treasure hunts in the kind of \u003ca href=\"//www.facebook.com/LeVideoSF/photos/a.447362580764.241311.27426240764/10152280730945765/?type=1&theater%E2%80%9D\">bins you see in record stores\u003c/a>.\u003c/p>\n\u003cp>The move will also not solve the underlying problem of a business that is half or less of what it used to be, with the bottom nowhere in sight. “We did notice that at the beginning of this year, despite (business) already being pretty low, it took another dip again,” Taylor says. To address that, the store is building a web browsing tool for its huge inventory, to be followed by an online rental function. Finally, Le Video hopes to offer rent-by-mail, a model that Netflix built its empire on but is now abandoning in favor of streaming.\u003c/p>\n\u003cp>Owner Catherine Tchen is quick to add the caveat that, though Le Video is seeking non-profit status, the store must be able to cover its own operating expenses. Le Video’s future success relies on loyal customers coming in more than once or twice a year.\u003c/p>\n\u003cp>Which provokes the question: Up against such technological, cash-flush gargantuans, are even the most forward-thinking, finely curated, and passionately complete neighborhood repositories of our cinematic heritage doomed to fight the last war in the rapidly changing media delivery game?\u003c/p>\n\u003cp>Last year I saw the author Rebecca Solnit at a fundraiser for Adobe Books, now a refugee from the same swath of hyper-gentrified neighborhood in which Lost Weekend and Faye’s reside. She counseled: “Start stocking up on memories of what used to be.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Next month, we’ll look into how the new business model of Netflix, slayer of so many video stores, could possibly make them relevant again.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You have to keep in mind just how few options there were back then. I’m talking pre-‘80s, before the VCR became the first in a long line of accessories to turn your TV into the culture’s central nervous system of escapism. You could go to retro houses or watch truncated old movies on television (interrupted by mood-shattering commercials). But those were essentially passive choices; you might find \u003cem>Citizen Kane\u003c/em>, or it might be \u003cem>Abbott and Costello Meet The Mummy\u003c/em>. You watched for a variety of reasons, one of them being “because it’s there.”\u003c/p>\n\u003cp>That is why I remember my first visit to a video store as a sort of cornucopian dream, a lavish spectacle that satisfied a deeply rooted desire. Dorothy’s first glimpse of Oz, exploding with color after a life of rural black and white. Or that famous \u003ci>Twilight Zone\u003c/i>, when the suicidal bookworm and lone survivor of a nuclear war otherwise known as Burgess Meredith \u003ca href=\"http://youtu.be/UAxARJyaTEA\" target=\"_blank\" rel=\"noopener\">happens upon the intact contents\u003c/a> of the New York Public Library.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/x6D8PAGelN8'\n title='//www.youtube.com/embed/x6D8PAGelN8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What’ll it be today? \u003cem>The Seventh Seal\u003c/em>, \u003cem>Bicycle Thieves\u003c/em>, \u003cem>8 1/2\u003c/em>? Or maybe something in a Renoir? And here’s \u003cem>Force of Evil\u003c/em>, that overlooked noir you’ve been dying to see.\u003c/p>\n\u003cp>Kid, meet candy store.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fast forward (or drag your mental scroll bar) to the present, when the video store remains pleasingly but inefficiently concrete, a physical holdout in an age when websites and servers have made instant gratification of your visual narrative needs de rigueur. Once the stuff that dreams are made of, the video store is now the most endangered species in the present media ecosystem, a relic mostly fit for frequenting by grandparents and technophobes.\u003c/p>\n\u003cp>Or so the numbers say. Reading a \u003ca href=\"http://www.ibisworld.com/industry/default.aspx?indid=1370\" target=\"_blank\" rel=\"noopener\">recent analysis of the industry\u003c/a> by business forecasting firm IBIS World is like looking over the last section of one of those obituaries news organizations prepare when someone is about to kick. The industry is in “the declining stage of its life cycle,” the report says. In 2005, nearly 23,000 video stores did business in the U.S. Today it’s 9,000, on the way to a predicted 4,000 in 2019. “Revenue contraction shows no signs of abating over 2014,” it continues, with sales anticipated to fall (another) 17 percent. Nine years ago, the industry employed close to 158,000 people. Today it’s 47,000, with about two-thirds of those jobs predicted to be gone with the wind five years from now.\u003c/p>\n\u003ch4>Local Stores Hanging On\u003c/h4>\n\u003cp>But it ain’t over till it’s over, and it ain’t over quite yet. A handful of video stores remain in San Francisco, though to talk to their owners is to very much wonder for how long. Their predicament has started to gain attention, especially with the \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=134827\" target=\"_blank\" rel=\"noopener\">near-closure of Le Video\u003c/a>, long a haven for cinephiles. Even AP \u003ca href=\"http://www.usatoday.com/videos/money/business/2014/06/13/10410219/\" target=\"_blank\" rel=\"noopener\">visited the city this summer\u003c/a> to check in on the survivors.\u003c/p>\n\u003cp>Here’s a status report on four of San Francisco’s most enduring video stores: Faye’s, Lost Weekend, Video Wave and Le Video.\u003c/p>\n\u003cfigure id=\"attachment_10139804\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/fayes.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/fayes.jpg\" alt=\"Faye's famous sandwich board\" width=\"640\" height=\"857\" class=\"size-full wp-image-10139804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/fayes.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/fayes-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/fayes-224x300.jpg 224w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Faye’s famous sandwich board\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Faye’s Video, 3614 18TH Street between Guerrero and Dolores\u003c/b>\u003c/p>\n\u003cp>Officially called Faye’s Video & Espresso Bar, it’s the latter part of that combo keeping the store afloat. That wasn’t always the case, says co-owner Matthew Troy. Six or seven years ago, movie rentals made up two-thirds of the business; now they account for just a quarter.\u003c/p>\n\u003cp>Troy says the store has seen a steady decline in rentals since a peak in 2008, estimating the business is down 60 percent since then. In the past year, a sharp decrease has sent video revenue to new lows.\u003c/p>\n\u003cp>Traditionally, the store saw about 100 new accounts created per month. But in a short period of time last summer, that number dropped. “It went to 100 to 90 to 60 and 50. Now we have literally half the amount of people coming in.”\u003c/p>\n\u003cp>Why such a precipitous drop? Troy thinks the change in people’s retail habits finally hit critical mass. “Netflix has been around for years, so something else is going on,” he says. “People live in areas without video stores, so when they move to San Francisco, their habit is already in place. We get people here all the time that say this is so ‘old school.’ I tell people we’re not selling Rubik’s Cubes, we don’t have Go-Gos posters up. It’s interesting how people turn on a place they would love to go to, and they’re just like ‘nope moving on to streaming on my phone or computer.’”\u003c/p>\n\u003cp>That technology has come of age, he realizes. “Four to five years ago streaming wasn’t as good; now you’ve got moms and dads streaming.”\u003c/p>\n\u003cp>Troy says the store could still make it on coffee sales if his video rental business collapsed completely. He and his partner have been talking about rearranging the interior so movies take up less space. “I’ve done the math to see if it was worth still having movies for the hours (put in),” he says.\u003c/p>\n\u003cp>It’s no surprise that Faye’s rent went up 50 percent recently. The store is located on one of the blocks that make the Valencia Corridor area so appealing to affluent newcomers, with Dolores Park on one end of the street, Tartine Bakery on the other, and Deflina restaurant and Bi-Rite Market in between. The store currently helps defray costs by subletting to popup stores.\u003c/p>\n\u003cp>Troy says he doesn’t like the thought of ending the movie business, though he and his partner have had those discussions. On some days “it’s like there are tumbleweeds coming in,” he says. “But there are still 500-600 people who rent from the store. I’m not ready to tell them to go online. You get those times they’re so excited to come to a video store. Like a six-year-old, with \u003ci>Little Mermaid\u003c/i> or something. They can actually hold the box and there’s a book. It’s a tangible place where people can discuss and look at it.\u003c/p>\n\u003cp>“But we can’t be in business to just have these stories once a month. We have to be smart about it.”\u003c/p>\n\u003cfigure id=\"attachment_10139987\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/videowave.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/videowave.jpg\" alt=\"Video Wave's building in Noe Valley gets a facelift; Photo by Colin Hutton\" width=\"640\" height=\"480\" class=\"size-full wp-image-10139987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/videowave.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/videowave-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/videowave-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Video Wave’s building in Noe Valley gets a facelift; Photo by Colin Hutton\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Video Wave of Noe Valley, 1431 Castro Street, between 25th & Jersey\u003c/b>\u003c/p>\n\u003cp>“We’re barely scraping by,” says Gwen Sanderson, a co-owner of Video Wave for 10 years. A moment later she amends that: “We aren’t really.”\u003c/p>\n\u003cp>Ominously, the store’s 10-year lease is up soon, and Video Wave doesn’t have the space to sublet to another retailer.\u003c/p>\n\u003cp>“We’ve been able to stay here because our landlord kept the rent affordable,” she says. “But we’re likely going to see a huge increase. We don’t know what’s going to happen. We’re putting out a letter to customers now letting them know what the situation is in case they want to get involved.”\u003c/p>\n\u003cp>Sanderson rattles off the names of local video stores that have closed over the years: Dr. Video, Naked Eye, Top World Video. In 2005, she says, two competitors coexisted within five blocks of her alone.\u003c/p>\n\u003cp>She thinks the industry has long needed a new business model. “The model was this is the only place you can get movies outside the theater. As soon as that changed, it needed to be tweaked.”\u003c/p>\n\u003cp>She would like the city to get involved in helping video stores survive, perhaps housing the entirety of the stores’ collections in one central location, then rotating titles through different neighborhoods in moviemobiles.\u003c/p>\n\u003cp>For now, that’s a pipe dream. But Sanderson thinks there’s a compelling cultural interest in preserving the 30 years worth of titles that the remaining video stores have collected. She says stores have many titles that simply aren’t available online, which would have to be purchased at high prices in order to be viewed, should they become un-rentable. She even wrote a press release in an attempt to start a conversation about the issue.\u003c/p>\n\u003cp>“The residents of San Francisco have access to every movie available for home viewing…. mainly held at locally owned video stores,” it reads. “If the last stores close in San Francisco, we will all lose access to a large percentage of what we currently have.”\u003c/p>\n\u003cfigure id=\"attachment_10139805\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/lostweekend.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/lostweekend.jpg\" alt=\"Lost Weekend video in the heart of SF's Mission district\" width=\"640\" height=\"428\" class=\"size-full wp-image-10139805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/lostweekend.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/lostweekend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/lostweekend-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lost Weekend video in the heart of SF’s Mission district\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Lost Weekend Video, 1034 Valencia Street, between 21st and Hill\u003c/b>\u003c/p>\n\u003cp>The store’s steady decline in business started around 2008 amid the financial crisis and subsequent Great Recession, says co-owner David Hawkins. Business has fallen roughly 60 percent since then.\u003c/p>\n\u003cp>Lost Weekend sits among the upscale eateries and boutiques that have so transformed the Valencia Corridor. But high rent is not the problem, Hawkins says. The problem is people just aren’t renting anymore and they’re not renting in increasing numbers.\u003c/p>\n\u003cp>“It’s been down 10-15 percent each year, and we were calculating that into our math of figuring out what to do,” he says. “And then it just plummeted even further. We figured there’s got to be a bottom at some point. But there hasn’t been.”\u003c/p>\n\u003cp>Like Faye’s Matthew Troy, Hawkins sees the habits of the new demographic pouring into the neighborhood as the main problem.\u003c/p>\n\u003cp>“I used to know 90 percent of the people who walk by. Now it’s down to 5-10 percent. Everyone comes home on their buses from Google, gets on their email and computer, then goes to bed. There are fewer people leaving their houses.”\u003c/p>\n\u003cp>Hawkins says that five or six years ago, he tried to organize retailers around the catastrophe he was sure was on its way. “I went around with a little notebook to every record store, video store, and bookstore in the city, trying to get a p.r. campaign. Everyone was intrigued by it, but it was like herding cats.”\u003c/p>\n\u003cp>The store has tweaked its business over the years in response. Its 25,000 titles can now be rented for five days instead of two. And a space featuring live comedy has helped keep it solvent.\u003c/p>\n\u003cp>A month ago the store posted an SOS on its Facebook page, saying it was facing an “immediate crisis.” Nothing’s changed since then.\u003c/p>\n\u003cp>“It’s to the point where we don’t have any cushion,” Hawkins says. “If anything goes wrong, we don’t have the resources. If something breaks and it’s a 40-buck replacement because it’s out of print, we have to really wrestle with if we can afford it.”\u003c/p>\n\u003cp>He makes an appeal for customers to patronize their friendly neighborhood retailers, whatever they may be. The issue is something much larger than the imminent disappearance of an obsolete media model, he says.\u003c/p>\n\u003cp>“When people hear us complaining about our business going under, they’re like, ‘so what? It’s just a video store.’ But when you start piecing it together with record stores that have been around 70 years, and bookstores for hundreds of years, then you’re starting to get through what the problem really is. Everyone buys their shoes from Zappos, for instance. You used to be able to open this little shoe store in whatever town and make a living.”\u003c/p>\n\u003cp>Hawkins does not like Netflix. Video stores used to employ 150,000 people in the country, he notes; Netflix employs 2,000. He sees the choice of where you get your TV and movies as a political one.\u003c/p>\n\u003cp>“If Walmart plunked a store down in the middle of San Francisco, most people would go out of their way not to shop there. But for some reason, people don’t have that mindset about Amazon, Netflix and Apple. They’re bigger than Walmart now, humongous corporations.”\u003c/p>\n\u003cfigure id=\"attachment_10139988\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/levideo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/levideo.jpg\" alt=\"In the middle of Le Video's remodel. Same location, just one floor up.\" width=\"640\" height=\"480\" class=\"size-full wp-image-10139988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/levideo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/levideo-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/levideo-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">In the middle of Le Video’s remodel. Same location, just one floor up.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Le Video, 1231 9th Avenue, between Irving and Lincoln\u003c/b>\u003c/p>\n\u003cp>If there’s a shred of hope for brick and mortar movie rental stores, you can find it in the public response to the news that Le Video was about to turn out the lights — and not just to watch a movie. Practically a cultural institution because of its insanely copious collection, Le Video was long a must-visit for any cinephile looking for rarer titles.\u003c/p>\n\u003cp>But in March, the store’s owner, Catherine Tchen, wrote on Facebook that barring a “miracle,” she would shut down at the end of April 2014. At the time, I talked to the store’s buyer, longtime employee John Taylor, who said Le Video had been losing money for years, and Tchen could no longer afford to house its money-losing 80-90,000 titles on the large ground floor in lieu of renting it out.\u003c/p>\n\u003cp>So the plan was to move the collection to a smaller upstairs area. The store launched an \u003ca href=\"//www.indiegogo.com/projects/save-le-video-a-sf-film-institution%E2%80%9D\">Indiegogo campaign\u003c/a> to finance the transition, setting a goal of $35,000. It hit that mark in just 13 days, blasting past to a final total of $60,000, including $10,000 from \u003cem>Lemony Snicket\u003c/em> author Daniel Handler. Green Apple Books, a store with a similarly passionate customer base, is moving into Le Video’s former ground floor space. Green Apple Books opened on Aug. 1, while Le Video was set to open on Friday, Aug. 8, barring any additional delays.\u003c/p>\n\u003cp>Le Video is now feeling a bit flush, posting a Facebook message during the remodeling about “new Internet and new phones… that will actually work when you call us…”\u003c/p>\n\u003cp>Taylor says the money also went to hiring staff, building shelves, ordering materials for construction, and runs to the dump. Not to mention “little plastic sleeves that cost a shocking amount of money.”\u003c/p>\n\u003cp>But don’t expect the same browsing experience, once so pleasing to those who made special trips just to walk among the grotto-like arrangement of overflowing shelves. The upstairs space is about a third the size, Taylor says. All the plastic cases that housed the DVDs and Blu-rays have been discarded; you will have to conduct your treasure hunts in the kind of \u003ca href=\"//www.facebook.com/LeVideoSF/photos/a.447362580764.241311.27426240764/10152280730945765/?type=1&theater%E2%80%9D\">bins you see in record stores\u003c/a>.\u003c/p>\n\u003cp>The move will also not solve the underlying problem of a business that is half or less of what it used to be, with the bottom nowhere in sight. “We did notice that at the beginning of this year, despite (business) already being pretty low, it took another dip again,” Taylor says. To address that, the store is building a web browsing tool for its huge inventory, to be followed by an online rental function. Finally, Le Video hopes to offer rent-by-mail, a model that Netflix built its empire on but is now abandoning in favor of streaming.\u003c/p>\n\u003cp>Owner Catherine Tchen is quick to add the caveat that, though Le Video is seeking non-profit status, the store must be able to cover its own operating expenses. Le Video’s future success relies on loyal customers coming in more than once or twice a year.\u003c/p>\n\u003cp>Which provokes the question: Up against such technological, cash-flush gargantuans, are even the most forward-thinking, finely curated, and passionately complete neighborhood repositories of our cinematic heritage doomed to fight the last war in the rapidly changing media delivery game?\u003c/p>\n\u003cp>Last year I saw the author Rebecca Solnit at a fundraiser for Adobe Books, now a refugee from the same swath of hyper-gentrified neighborhood in which Lost Weekend and Faye’s reside. She counseled: “Start stocking up on memories of what used to be.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next month, we’ll look into how the new business model of Netflix, slayer of so many video stores, could possibly make them relevant again.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Maxine Hong Kingston is probably most famous for her first two books, \u003cem>The Woman Warrior\u003c/em> and \u003cem>China Men\u003c/em>, which explore Chinese-American identity from different angles. The author is joined by 9 other nationally prominent artists and an arts organization in receiving the National Medal of Arts from President Barack Obama today at the White House in Washington, D.C. Other recipients include Hollywood studio CEO Jeffrey Katzenberg, documentary filmmaker Albert Maysles, dancer and choreographer Bill T. Jones, groundbreaking visual artist James Turrell, poet Julia Alvarez and — another (recent) Bay Area local, singer Linda Rondstadt. \u003c/p>\n\u003cp>See the ceremony streamed live at 12 noon Pacific Time (3pm ET) at \u003ca href=\"http://www.whitehouse.gov/Live\" target=\"_blank\" rel=\"noopener\">WH.gov/Live\u003c/a>\u003c/p>\n\u003cp>Kingston, who was the first of her siblings born in the U.S. to Chinese immigrants, grew up in Stockton, CA. In the above clip from a 1990 KQED Documentary, \u003ci>Maxine Hong Kingston: Talking Story\u003c/i> (produced by Joan Saffa and Steve Talbot), she remembers her childhood home populated with family stories and the “ghosts” of ancestors. Her debut book, 1975’s \u003ci>The Woman Warrior\u003c/i> was subtitled “Memoirs of a Girlhood Among Ghosts.” In this clip, Kingston describes herself as haunted — even tormented — by the spirit of an aunt whose tragic story she is compelled to tell. \u003c/p>\n\u003cp>A work of creative non-fiction, \u003cem>The Woman Warrior\u003c/em> combines Chinese folktales with autobiographical materials to form a complex portrait of U.S. Chinese (mostly female) identity. In the KQED documentary, the book is cited as a feminist work, addressing the favored status of males within the traditional Chinese family. Kingston followed that book in 1980, with \u003cem>China Men\u003c/em>, a collection of stories about the men in her family. At the time \u003ci>Talking Story\u003c/i> was released, Kingston was doing readings for her first novel, 1989’s \u003ci>Tripmaster Monkey\u003c/i>, which chronicles the adventures of a U.C. Berkeley grad in 1960s San Francisco. \u003c/p>\n\u003cp>Herself a graduate of U.C. Berkeley, Kingston is being honored for “her novels and non-fiction, [which] have examined how the past influences our present… [and] strengthened our understanding of Asian American identity, helping shape our national conversation about culture, gender, and race.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to KQED Forum’s 2005 interview with Maxine Hong Kingston:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2005/04/2005-04-04b-forum.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maxine Hong Kingston is probably most famous for her first two books, \u003cem>The Woman Warrior\u003c/em> and \u003cem>China Men\u003c/em>, which explore Chinese-American identity from different angles. The author is joined by 9 other nationally prominent artists and an arts organization in receiving the National Medal of Arts from President Barack Obama today at the White House in Washington, D.C. Other recipients include Hollywood studio CEO Jeffrey Katzenberg, documentary filmmaker Albert Maysles, dancer and choreographer Bill T. Jones, groundbreaking visual artist James Turrell, poet Julia Alvarez and — another (recent) Bay Area local, singer Linda Rondstadt. \u003c/p>\n\u003cp>See the ceremony streamed live at 12 noon Pacific Time (3pm ET) at \u003ca href=\"http://www.whitehouse.gov/Live\" target=\"_blank\" rel=\"noopener\">WH.gov/Live\u003c/a>\u003c/p>\n\u003cp>Kingston, who was the first of her siblings born in the U.S. to Chinese immigrants, grew up in Stockton, CA. In the above clip from a 1990 KQED Documentary, \u003ci>Maxine Hong Kingston: Talking Story\u003c/i> (produced by Joan Saffa and Steve Talbot), she remembers her childhood home populated with family stories and the “ghosts” of ancestors. Her debut book, 1975’s \u003ci>The Woman Warrior\u003c/i> was subtitled “Memoirs of a Girlhood Among Ghosts.” In this clip, Kingston describes herself as haunted — even tormented — by the spirit of an aunt whose tragic story she is compelled to tell. \u003c/p>\n\u003cp>A work of creative non-fiction, \u003cem>The Woman Warrior\u003c/em> combines Chinese folktales with autobiographical materials to form a complex portrait of U.S. Chinese (mostly female) identity. In the KQED documentary, the book is cited as a feminist work, addressing the favored status of males within the traditional Chinese family. Kingston followed that book in 1980, with \u003cem>China Men\u003c/em>, a collection of stories about the men in her family. At the time \u003ci>Talking Story\u003c/i> was released, Kingston was doing readings for her first novel, 1989’s \u003ci>Tripmaster Monkey\u003c/i>, which chronicles the adventures of a U.C. Berkeley grad in 1960s San Francisco. \u003c/p>\n\u003cp>Herself a graduate of U.C. Berkeley, Kingston is being honored for “her novels and non-fiction, [which] have examined how the past influences our present… [and] strengthened our understanding of Asian American identity, helping shape our national conversation about culture, gender, and race.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to KQED Forum’s 2005 interview with Maxine Hong Kingston:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2005/04/2005-04-04b-forum.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>With all of the dramatic changes taking place in the Bay Area due to development and gentrification, Oakland cultural workers and entrepreneurs \u003ca href=\"https://twitter.com/blublakwomyn\" target=\"_blank\" rel=\"noopener\">Ashara Ekundayo\u003c/a>, \u003ca href=\"https://twitter.com/solespace1\" target=\"_blank\" rel=\"noopener\">Jeff Perlstein\u003c/a> and \u003ca href=\"https://twitter.com/MNichollsDesign\" target=\"_blank\" rel=\"noopener\">Mike Nicholls \u003c/a>are igniting a community conversation at their collaborative event called \u003ca href=\"https://oakland.impacthub.net/event/pechakucha-night-oakland-vol-4-placemakingplace/\" target=\"_blank\" rel=\"noopener\">PechaKucha Night Oakland\u003c/a>.\u003c/p>\n\u003cp>What Does\u003cem> PechaKucha \u003c/em>mean?\u003c/p>\n\u003cp>PechaKucha is derived from a Japanese term meaning the sound of conversation, or chit-chat. \u003ca href=\"http://www.pechakucha.org/\">PechaKucha Night\u003c/a>, now in over 700 cities, was devised in Tokyo in February 2003 as an event for designers to meet, network, and share their work in a creative, social and informal setting with friends. Each presenter is allowed 20 images, each shown for 20 seconds, for a total of 6 minutes 40 seconds of floor time before the next presenter is up. This fast paced format keeps presenters succinct.\u003c/p>\n\u003cp>This Saturday, \u003ca href=\"https://oakland.impacthub.net/event/pechakucha-night-oakland-vol-4-placemakingplace/\">PechaKucha Night Oakland\u003c/a> will bring together a dynamic mix of presenters from all domains of creative activity, including activists, architects, artists, designers, entrepreneurs, fabricators and makers to present on the theme of \u003cstrong>Place/Making/Place\u003c/strong>, exploring how Oakland’s creative class can help define a policy strategy for development and community building at a city-wide level. Ten presenters will share their interpretations of place and identity as it relates to making and maintaining a neighborhood, a relationship, a business or a community. \u003c/p>\n\u003cp>\u003ca href=\"http://www.youthinarts.org/artist/keith-k-dub-williams/\" target=\"_blank\" rel=\"noopener\">Keith ‘K-Dub’ Williams\u003c/a>, one of Saturday night’s presenters, has been leading the charge to repair and improve the skate park in West Oakland’s DeFremery Park, which is often called “\u003ca href=\"https://www.facebook.com/pages/Build-Town-Park/153235964782006?sk=info\" target=\"_blank\" rel=\"noopener\">Town Park\u003c/a>.” His organization also produces skateboard and youth art festivals in Oakland, San Francisco, Los Angeles and Las Vegas, giving young people a creative platform to share their skills. Williams says Oakland residents, youth and artists need to “define a new direction for Oakland or it will be something like what the Mission has become — only recognizable by the street names.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Designer Deanna Van Buren from \u003ca href=\"http://www.fourmdesignstudio.com/\" target=\"_blank\" rel=\"noopener\">Fourm Design Studio\u003c/a> will also be presenting on Saturday night. Van Buren calls out residents and artists to be more pro-active about engaging innovators and policy makers “in dialogue around the importance of place-making that supports the kind of communities we want to see.”\u003c/p>\n\u003cfigure id=\"attachment_10139361\" class=\"wp-caption alignright\" style=\"max-width: 1197px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Fourm-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139361 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Fourm-2.jpg\" alt=\"Fourm 2\" width=\"1197\" height=\"913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Fourm-2.jpg 1197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Fourm-2-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Fourm-2-300x228.jpg 300w\" sizes=\"(max-width: 1197px) 100vw, 1197px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Image from Fourm Design Studio’s mapping exercise at Impact Hub Oakland with local restorative justice leaders to envision a new Oakland. \u003ccite>(Fourm Design Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://oakland.impacthub.net/event/pechakucha-night-oakland-vol-4-placemakingplace/\" target=\"_blank\" rel=\"noopener\">PechaKucha Night Oakland\u003c/a> organizer Jeff Perlstein from\u003ca href=\"http://solespace.com/\" target=\"_blank\" rel=\"noopener\"> SoleSpace\u003c/a> says, “It’s a night of ‘thinking while drinking’ in Uptown Oakland.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>PechaKucha Night Oakland, Vol. 4 will be held on Saturday July 26, 2014 from 7-11pm at \u003ca href=\"https://oakland.impacthub.net/\" target=\"_blank\" rel=\"noopener\">Impact Hub Oakland\u003c/a>, 2323 Broadway. For \u003ca href=\"http://www.eventbrite.com/e/pechakucha-night-oakland-vol-4-tickets-12141679089\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit eventbrite.com.\u003c/p>\n\n",
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"title": "PechaKucha, Oakland Style: Thinking, Drinking and Talking about Community | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With all of the dramatic changes taking place in the Bay Area due to development and gentrification, Oakland cultural workers and entrepreneurs \u003ca href=\"https://twitter.com/blublakwomyn\" target=\"_blank\" rel=\"noopener\">Ashara Ekundayo\u003c/a>, \u003ca href=\"https://twitter.com/solespace1\" target=\"_blank\" rel=\"noopener\">Jeff Perlstein\u003c/a> and \u003ca href=\"https://twitter.com/MNichollsDesign\" target=\"_blank\" rel=\"noopener\">Mike Nicholls \u003c/a>are igniting a community conversation at their collaborative event called \u003ca href=\"https://oakland.impacthub.net/event/pechakucha-night-oakland-vol-4-placemakingplace/\" target=\"_blank\" rel=\"noopener\">PechaKucha Night Oakland\u003c/a>.\u003c/p>\n\u003cp>What Does\u003cem> PechaKucha \u003c/em>mean?\u003c/p>\n\u003cp>PechaKucha is derived from a Japanese term meaning the sound of conversation, or chit-chat. \u003ca href=\"http://www.pechakucha.org/\">PechaKucha Night\u003c/a>, now in over 700 cities, was devised in Tokyo in February 2003 as an event for designers to meet, network, and share their work in a creative, social and informal setting with friends. Each presenter is allowed 20 images, each shown for 20 seconds, for a total of 6 minutes 40 seconds of floor time before the next presenter is up. This fast paced format keeps presenters succinct.\u003c/p>\n\u003cp>This Saturday, \u003ca href=\"https://oakland.impacthub.net/event/pechakucha-night-oakland-vol-4-placemakingplace/\">PechaKucha Night Oakland\u003c/a> will bring together a dynamic mix of presenters from all domains of creative activity, including activists, architects, artists, designers, entrepreneurs, fabricators and makers to present on the theme of \u003cstrong>Place/Making/Place\u003c/strong>, exploring how Oakland’s creative class can help define a policy strategy for development and community building at a city-wide level. Ten presenters will share their interpretations of place and identity as it relates to making and maintaining a neighborhood, a relationship, a business or a community. \u003c/p>\n\u003cp>\u003ca href=\"http://www.youthinarts.org/artist/keith-k-dub-williams/\" target=\"_blank\" rel=\"noopener\">Keith ‘K-Dub’ Williams\u003c/a>, one of Saturday night’s presenters, has been leading the charge to repair and improve the skate park in West Oakland’s DeFremery Park, which is often called “\u003ca href=\"https://www.facebook.com/pages/Build-Town-Park/153235964782006?sk=info\" target=\"_blank\" rel=\"noopener\">Town Park\u003c/a>.” His organization also produces skateboard and youth art festivals in Oakland, San Francisco, Los Angeles and Las Vegas, giving young people a creative platform to share their skills. Williams says Oakland residents, youth and artists need to “define a new direction for Oakland or it will be something like what the Mission has become — only recognizable by the street names.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Designer Deanna Van Buren from \u003ca href=\"http://www.fourmdesignstudio.com/\" target=\"_blank\" rel=\"noopener\">Fourm Design Studio\u003c/a> will also be presenting on Saturday night. Van Buren calls out residents and artists to be more pro-active about engaging innovators and policy makers “in dialogue around the importance of place-making that supports the kind of communities we want to see.”\u003c/p>\n\u003cfigure id=\"attachment_10139361\" class=\"wp-caption alignright\" style=\"max-width: 1197px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Fourm-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139361 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Fourm-2.jpg\" alt=\"Fourm 2\" width=\"1197\" height=\"913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Fourm-2.jpg 1197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Fourm-2-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Fourm-2-300x228.jpg 300w\" sizes=\"(max-width: 1197px) 100vw, 1197px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Image from Fourm Design Studio’s mapping exercise at Impact Hub Oakland with local restorative justice leaders to envision a new Oakland. \u003ccite>(Fourm Design Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://oakland.impacthub.net/event/pechakucha-night-oakland-vol-4-placemakingplace/\" target=\"_blank\" rel=\"noopener\">PechaKucha Night Oakland\u003c/a> organizer Jeff Perlstein from\u003ca href=\"http://solespace.com/\" target=\"_blank\" rel=\"noopener\"> SoleSpace\u003c/a> says, “It’s a night of ‘thinking while drinking’ in Uptown Oakland.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>PechaKucha Night Oakland, Vol. 4 will be held on Saturday July 26, 2014 from 7-11pm at \u003ca href=\"https://oakland.impacthub.net/\" target=\"_blank\" rel=\"noopener\">Impact Hub Oakland\u003c/a>, 2323 Broadway. For \u003ca href=\"http://www.eventbrite.com/e/pechakucha-night-oakland-vol-4-tickets-12141679089\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit eventbrite.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Return of San Francisco's The LAB, a Historic Experimental Art Space",
"headTitle": "The Return of San Francisco’s The LAB, a Historic Experimental Art Space | KQED",
"content": "\u003cp>Last week it was announced that Bay Area curator Dena Beard, outgoing assistant curator at Berkeley Art Museum and Pacific Film Archive, will assume the role of executive director at The LAB beginning August 1. In a time when the economic threat to nonprofit organizations is of paramount concern, it is uncommonly exciting to hear plans to revitalize one of the city’s legacy experimental spaces.\u003c/p>\n\u003cfigure id=\"attachment_10139439\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg\" alt=\"Margaret Kilgallen painting window signage at The LAB, February 1997. Courtesy of Barry McGee.\" width=\"800\" height=\"1067\" class=\"size-full wp-image-10139439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage-224x300.jpg 224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Margaret Kilgallen painting window signage at The LAB, February 1997. Courtesy of Barry McGee. \u003ccite>(Courtesy of Barry McGee.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its 30-year history, The LAB has been widely known for showcasing radical, edgy, experimental music, performance art and visual art. The list of artists is too vast to go into here, but a sample includes Bruce Connor, Karen Finley, Guillermo Gómez Peña, Margaret Kilgallen (whose hand lettered sign graces the entrance), Barry McGee, Survival Research Laboratories, Rex Ray and Pamela Z, among many others. Co-Lab, as it was originally called, was founded in 1984 by a group of art students from San Francisco State University; by 1985 it was known as The LAB. In 1995, it moved from its original space on Divisadero to its current location in the historic Redstone Building in the Mission District.\u003c/p>\n\u003cp>The Redstone Building, previously known as The San Francisco Labor Temple, originally housed 22 labor unions and was an instrumental site in the planning of the 1934 San Francisco General Strike for better working conditions and enforcement of the 40-hour work week. In 1996, the LAB partnered with Aaron Noble of Clarion Alley Mural Project to produce a series of murals on-site created by artists and building occupants. The murals, still visible today, feature work by Carolyn Castano, McGee, Ruby Neri and Rigo ’96, among others.\u003c/p>\n\u003cfigure id=\"attachment_10139406\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139406\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg\" alt=\"Performance detail: Division of Labor, July 2011, The LAB.\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011-300x198.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Performance detail: Division of Labor, July 2011, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years The LAB had foundered due to “inexperienced leadership,” in Beard’s words, compounded by the absence of strategic planning and fundraising. Also, taxes weren’t properly handled and fees began to accrue. A year ago, Beard secured pro-bono services from a team of lawyers to free the organization from its debt to the IRS and to arrange a feasible repayment plan. She has also laid the groundwork to confront the financial challenges ahead with careful planning and a bevy of allies, including many of the artists historically invested in the organization. Alan Millar, one of the LAB’s founding artists, is returning as board president this year.\u003c/p>\n\u003cp>“I want LAB audiences to be inspired by the \u003cem>way\u003c/em> we work, not just what is produced,” said Beard in an e-mail. The first phase of programs under her leadership will consist of projects that re-think the model of a non-profit art space, through considerations of its physical facility, its histories and its space in the online environment.\u003c/p>\n\u003cfigure id=\"attachment_10139410\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139410\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg\" alt=\"Installation detail: 10-22-38 Astoria, October 2012, The LAB.\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">10-22-38 Astoria, FICTILIS, featuring work by Danielle McCullough, October 2012, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>Beard is thinking about the programming ahead in terms borrowed from much of the current debate around grassroots efforts. The first exhibition and series of programs will coincide with the 100\u003csup>th\u003c/sup> anniversary of the Redstone Building. A much needed renovation of The LAB’s gallery and performance spaces will highlight the raw space by adding wall labels that detail the labor of artists who participated in the refurbishment; and a series of programs will engage union leaders, scholars, and activist/artists. In October, there will be a series of “alternative archiving events” aimed to exhume past projects, including a séance for the Maria Nordman Archive and meetings of The Rat Bitches Protective Association (in honor of Jay DeFeo, Bruce Connor and others).\u003c/p>\n\u003cfigure id=\"attachment_10139412\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg\" alt=\"Exhibition detail, featuring works by Seth Curcio, Bradley Hyppa, Benjamin Meyer; May 2011, The LAB.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition detail, featuring works by Seth Curcio, Bradley Hyppa, Benjamin Meyer; May 2011, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>The decision to revive The LAB comes at the height of national dialog about whether or not to “sunset” failing nonprofits. The continuing discourse on the subject recently reached a fever pitch after \u003ca href=\"https://medium.com/@devonvsmith/we-should-allow-failing-arts-organizations-to-die-20c05e78afb9\">an article\u003c/a> by Devon Smith titled “We should allow failing arts organizations to die” was widely circulated online. Responding to this debate, Beard said, “Risks need to be taken to keep the non-profit fresh and relevant in the communities they serve. With a new strategic plan and a refresh of its mission, The LAB will really become both a current and historical resource for the San Francisco community.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The majority of events and conversations related to this rethinking will be free, but September–December will be peppered with fundraising efforts that take a self-conscious approach to understanding patronage in our current moment,” she said. “I am committed to problematizing capital (and therefore the status quo) but I am also a devout hedonist, so I firmly believe that the process should be fun!”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week it was announced that Bay Area curator Dena Beard, outgoing assistant curator at Berkeley Art Museum and Pacific Film Archive, will assume the role of executive director at The LAB beginning August 1. In a time when the economic threat to nonprofit organizations is of paramount concern, it is uncommonly exciting to hear plans to revitalize one of the city’s legacy experimental spaces.\u003c/p>\n\u003cfigure id=\"attachment_10139439\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg\" alt=\"Margaret Kilgallen painting window signage at The LAB, February 1997. Courtesy of Barry McGee.\" width=\"800\" height=\"1067\" class=\"size-full wp-image-10139439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Labs-window-signage-224x300.jpg 224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Margaret Kilgallen painting window signage at The LAB, February 1997. Courtesy of Barry McGee. \u003ccite>(Courtesy of Barry McGee.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In its 30-year history, The LAB has been widely known for showcasing radical, edgy, experimental music, performance art and visual art. The list of artists is too vast to go into here, but a sample includes Bruce Connor, Karen Finley, Guillermo Gómez Peña, Margaret Kilgallen (whose hand lettered sign graces the entrance), Barry McGee, Survival Research Laboratories, Rex Ray and Pamela Z, among many others. Co-Lab, as it was originally called, was founded in 1984 by a group of art students from San Francisco State University; by 1985 it was known as The LAB. In 1995, it moved from its original space on Divisadero to its current location in the historic Redstone Building in the Mission District.\u003c/p>\n\u003cp>The Redstone Building, previously known as The San Francisco Labor Temple, originally housed 22 labor unions and was an instrumental site in the planning of the 1934 San Francisco General Strike for better working conditions and enforcement of the 40-hour work week. In 1996, the LAB partnered with Aaron Noble of Clarion Alley Mural Project to produce a series of murals on-site created by artists and building occupants. The murals, still visible today, feature work by Carolyn Castano, McGee, Ruby Neri and Rigo ’96, among others.\u003c/p>\n\u003cfigure id=\"attachment_10139406\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139406\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg\" alt=\"Performance detail: Division of Labor, July 2011, The LAB.\" width=\"640\" height=\"424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Division-of-Labor_July-2011-300x198.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Performance detail: Division of Labor, July 2011, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years The LAB had foundered due to “inexperienced leadership,” in Beard’s words, compounded by the absence of strategic planning and fundraising. Also, taxes weren’t properly handled and fees began to accrue. A year ago, Beard secured pro-bono services from a team of lawyers to free the organization from its debt to the IRS and to arrange a feasible repayment plan. She has also laid the groundwork to confront the financial challenges ahead with careful planning and a bevy of allies, including many of the artists historically invested in the organization. Alan Millar, one of the LAB’s founding artists, is returning as board president this year.\u003c/p>\n\u003cp>“I want LAB audiences to be inspired by the \u003cem>way\u003c/em> we work, not just what is produced,” said Beard in an e-mail. The first phase of programs under her leadership will consist of projects that re-think the model of a non-profit art space, through considerations of its physical facility, its histories and its space in the online environment.\u003c/p>\n\u003cfigure id=\"attachment_10139410\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139410\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg\" alt=\"Installation detail: 10-22-38 Astoria, October 2012, The LAB.\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_10.-22.-38-Astoria_October-2012-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">10-22-38 Astoria, FICTILIS, featuring work by Danielle McCullough, October 2012, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>Beard is thinking about the programming ahead in terms borrowed from much of the current debate around grassroots efforts. The first exhibition and series of programs will coincide with the 100\u003csup>th\u003c/sup> anniversary of the Redstone Building. A much needed renovation of The LAB’s gallery and performance spaces will highlight the raw space by adding wall labels that detail the labor of artists who participated in the refurbishment; and a series of programs will engage union leaders, scholars, and activist/artists. In October, there will be a series of “alternative archiving events” aimed to exhume past projects, including a séance for the Maria Nordman Archive and meetings of The Rat Bitches Protective Association (in honor of Jay DeFeo, Bruce Connor and others).\u003c/p>\n\u003cfigure id=\"attachment_10139412\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg\" alt=\"Exhibition detail, featuring works by Seth Curcio, Bradley Hyppa, Benjamin Meyer; May 2011, The LAB.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/The-Lab_Seth-Curcio-Bradley-Hyppa-Benjamin-Meyer_May-2011-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition detail, featuring works by Seth Curcio, Bradley Hyppa, Benjamin Meyer; May 2011, The LAB.\u003c/figcaption>\u003c/figure>\n\u003cp>The decision to revive The LAB comes at the height of national dialog about whether or not to “sunset” failing nonprofits. The continuing discourse on the subject recently reached a fever pitch after \u003ca href=\"https://medium.com/@devonvsmith/we-should-allow-failing-arts-organizations-to-die-20c05e78afb9\">an article\u003c/a> by Devon Smith titled “We should allow failing arts organizations to die” was widely circulated online. Responding to this debate, Beard said, “Risks need to be taken to keep the non-profit fresh and relevant in the communities they serve. With a new strategic plan and a refresh of its mission, The LAB will really become both a current and historical resource for the San Francisco community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The majority of events and conversations related to this rethinking will be free, but September–December will be peppered with fundraising efforts that take a self-conscious approach to understanding patronage in our current moment,” she said. “I am committed to problematizing capital (and therefore the status quo) but I am also a devout hedonist, so I firmly believe that the process should be fun!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the nearly two months since San Francisco’s oldest nonprofit artists’ space Intersection for the Arts \u003ca href=\"http://ww2.kqed.org/arts/2014/05/22/san-franciscos-intersection-for-the-arts-suspends-programs-lays-off-curators/\">announced a “reorganization,”\u003c/a> suspended programming and laid off key staff, there has been a lot of talk about the fate of the organization and what it represents for the future of the city’s culture. But these conversations have happened in private circles or online in social media. This last Tuesday, July 15, Intersection hosted a community meeting to discuss its future with the public.\u003c/p>\n\u003cp>It was a packed house. Indeed, it was one of the most robustly attended, culturally diverse events I’ve seen in the city. Stakeholders of every ilk were represented in this gathering of some 150 people, including members, artists, students, elders, curators, writers, nonprofit leaders, philanthropists, and city employees. Attendance was further enriched by the range of cultural interests, including performance, community arts, visual arts, music, literature, and social justice\u003c/p>\n\u003cp>In this sense, the evening was a pure reflection of what Intersection has always done best: create community at the intersection of different cultures. Looking around at the many brilliant figures and arts leaders in the room, it seemed that anything was possible.\u003c/p>\n\u003cfigure id=\"attachment_10139285\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection2.jpg\" alt=\"Exhibition installation detail: Here Be Dragons, October 2011 - January 2012, featuring work by Val Britton and Tucker Nichols, Intersection for the Arts.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10139285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection2-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition installation detail: \u003cb>Here Be Dragons\u003c/b>, October 2011 – January 2012, featuring work by Val Britton and Tucker Nichols, Intersection for the Arts.\u003c/figcaption>\u003c/figure>\n\u003cp>The meeting was led by a transition team of volunteers, including board members, the former program directors, and former Executive Director Deborah Cullinan, among others. After a brief set of introductions, five breakout groups were organized to gather feedback about the future, based on programming themes of “visual arts,” “performance,” “community engagement,” “shared spaces and new models,” and “fundraising.” The message from the outset was that the community would have the opportunity to shape the future. Though forward thinking, many were bewildered by the absence of a statement about what brought Intersection to its current state.\u003c/p>\n\u003cp>I floated between several of the groups. In each I heard shared concerns about maintaining the core values of the organization, prioritizing artists and work related to social justice. Whether or not the organization needed a dedicated space was also a consideration, with good arguments in favor of both dedicated space and nomadic programming. Partnerships with different organizations were also discussed. There was talk about the struggle to raise money and how the funding system for nonprofits has evolved in the last ten years. (My favorite comment came from a woman who said that we all need to be “pimps” in this business: Public Individuals Manifesting Power.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In another session someone asked, after one person suggested curtailing programs, “I am not sure what we are doing here. Are we trying to rebuild or are we scratching things off?” Likening the lack of information around the reorganization to the collapse of the Bay Bridge, she asked, “Why did this bridge fall down?”\u003c/p>\n\u003cp>Questions about the state of affairs and accountability were asked quietly and repeatedly, though most were reluctant to ask directly. In all fairness, it was difficult to know whom to ask. The present Interim Executive Director Randy Rollison made no statement and is not participating in the transition team. The board members are essentially the last ones standing, but there wasn’t an obvious sense of any one of them taking the lead.\u003c/p>\n\u003cfigure id=\"attachment_10139286\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection3.jpg\" alt=\"Exhibition installation detail: Here Be Dragons, October 2011 - January 2012, featuring work by Wendy McNaughton, Lordy Rodriguez, and Tucker Nichols, Intersection for the Arts.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10139286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection3-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection3-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition installation detail: \u003cb>Here Be Dragons\u003c/b>, October 2011 – January 2012, featuring work by Wendy McNaughton, Lordy Rodriguez, and Tucker Nichols, Intersection for the Arts.\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, following the breakout groups, Board President Yancy Widmer addressed persistent questions about the organization’s difficulties. The challenges, he said, could be attributed to a “perfect storm.” He summarily cited a lack of unrestricted income, the absence of a significant reserve, the executive director’s leadership transition, as well as anticipated funds and community contributions that didn’t come through this year. “The board spent a lot of time trying to figure out the complexity of the situation and took too long,” he said. (So it would seem, given that Cullinan left in September 2013 after giving three months notice to transition to her new role as executive director at Yerba Buena Center for the Arts.)\u003c/p>\n\u003cp>It is also widely known that the longtime program directors – Kevin B. Chen, Sean San José, and Rebeka Rodriquez, each involved with the organization for more than a decade – were not included in conversations about the precariousness of the situation. They were only informed that their programs were being suspended about two weeks before the situation was made public. In a conversation for this article, Widmer said that the program directors were informed as soon as the board was made aware of the financial difficulties. Despite hosting a modestly successful fundraiser in April, one month before the organization ran aground, there was no appeal to the community until now.\u003c/p>\n\u003cp>Given the compressed timeline of recent events, it would seem that the present situation is due to the board’s failure to understand the cost of their own delays and how they might impact finances. By failing to hire an executive director — no formal search was ever announced, though according to Widmer, informal conversations had begun in April — the organization was precluded from applying for essential foundation grants that have been reliable cash infusions in the past. (Many will not grant to organizations with interim leadership, for fairly obvious reasons.) It was only clear that the situation was dire by the time it was too late to make public appeals for support. Though it remains touch and go, there is a glimmer of hope being stewarded by the former program directors.\u003c/p>\n\u003cfigure id=\"attachment_10139287\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection4.jpg\" alt=\"Exhibition installation detail: Here Be Dragons, October 2011 - January 2012, featuring Wendy McNaughton, Intersection for the Arts.\" width=\"640\" height=\"960\" class=\"size-full wp-image-10139287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection4-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection4-200x300.jpg 200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition installation detail: \u003cb>Here Be Dragons\u003c/b>, October 2011 – January 2012, featuring Wendy McNaughton, Intersection for the Arts.\u003c/figcaption>\u003c/figure>\n\u003cp>Even as Chen, San José, and Rodriguez are volunteering their time in an attempt to salvage Intersection’s core values, they will not return to their former roles. Each has decided to move on once the organization is stabilized, but they firmly believe that the return of Intersection is imperative. They are the ones who have spearheaded the transition and have been successful at securing $25K in stabilization funds from the city; a significant coalition of local funders is also being brought into the conversation. There is still a lot of work ahead, and securing new leadership is critical, but many believe it can be done. Simply because it has been done before.\u003c/p>\n\u003cp>Throughout the evening, a few people cited Intersection’s origins in the mid-1960s as a space for artists to gather – highly unusual for the time – and as a community center for conscientious objectors to the American War in Vietnam. The organization has \u003cem>always \u003c/em>been engaged in struggle. It only exists now because it has been championed by the community historically.\u003c/p>\n\u003cp>Calling all “public individuals manifesting power.” It’s time to pay it forward.\u003c/p>\n\u003cp>“Intersection has had many chapters,” Kevin Chen said in conversation. “Before this chapter, Intersection died in a very similar fashion in the ’90s after slashing all but its literary program. Ultimately, it was a group of inspired people who revived it. The same thing can happen again. There are other chapters to be written.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Intersection for the Arts will host a second community meeting on August 19, 2014. For \u003ca href=\"http://theintersection.org/\">more information\u003c/a>, visit theintersection.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the nearly two months since San Francisco’s oldest nonprofit artists’ space Intersection for the Arts \u003ca href=\"http://ww2.kqed.org/arts/2014/05/22/san-franciscos-intersection-for-the-arts-suspends-programs-lays-off-curators/\">announced a “reorganization,”\u003c/a> suspended programming and laid off key staff, there has been a lot of talk about the fate of the organization and what it represents for the future of the city’s culture. But these conversations have happened in private circles or online in social media. This last Tuesday, July 15, Intersection hosted a community meeting to discuss its future with the public.\u003c/p>\n\u003cp>It was a packed house. Indeed, it was one of the most robustly attended, culturally diverse events I’ve seen in the city. Stakeholders of every ilk were represented in this gathering of some 150 people, including members, artists, students, elders, curators, writers, nonprofit leaders, philanthropists, and city employees. Attendance was further enriched by the range of cultural interests, including performance, community arts, visual arts, music, literature, and social justice\u003c/p>\n\u003cp>In this sense, the evening was a pure reflection of what Intersection has always done best: create community at the intersection of different cultures. Looking around at the many brilliant figures and arts leaders in the room, it seemed that anything was possible.\u003c/p>\n\u003cfigure id=\"attachment_10139285\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection2.jpg\" alt=\"Exhibition installation detail: Here Be Dragons, October 2011 - January 2012, featuring work by Val Britton and Tucker Nichols, Intersection for the Arts.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10139285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection2-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition installation detail: \u003cb>Here Be Dragons\u003c/b>, October 2011 – January 2012, featuring work by Val Britton and Tucker Nichols, Intersection for the Arts.\u003c/figcaption>\u003c/figure>\n\u003cp>The meeting was led by a transition team of volunteers, including board members, the former program directors, and former Executive Director Deborah Cullinan, among others. After a brief set of introductions, five breakout groups were organized to gather feedback about the future, based on programming themes of “visual arts,” “performance,” “community engagement,” “shared spaces and new models,” and “fundraising.” The message from the outset was that the community would have the opportunity to shape the future. Though forward thinking, many were bewildered by the absence of a statement about what brought Intersection to its current state.\u003c/p>\n\u003cp>I floated between several of the groups. In each I heard shared concerns about maintaining the core values of the organization, prioritizing artists and work related to social justice. Whether or not the organization needed a dedicated space was also a consideration, with good arguments in favor of both dedicated space and nomadic programming. Partnerships with different organizations were also discussed. There was talk about the struggle to raise money and how the funding system for nonprofits has evolved in the last ten years. (My favorite comment came from a woman who said that we all need to be “pimps” in this business: Public Individuals Manifesting Power.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In another session someone asked, after one person suggested curtailing programs, “I am not sure what we are doing here. Are we trying to rebuild or are we scratching things off?” Likening the lack of information around the reorganization to the collapse of the Bay Bridge, she asked, “Why did this bridge fall down?”\u003c/p>\n\u003cp>Questions about the state of affairs and accountability were asked quietly and repeatedly, though most were reluctant to ask directly. In all fairness, it was difficult to know whom to ask. The present Interim Executive Director Randy Rollison made no statement and is not participating in the transition team. The board members are essentially the last ones standing, but there wasn’t an obvious sense of any one of them taking the lead.\u003c/p>\n\u003cfigure id=\"attachment_10139286\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection3.jpg\" alt=\"Exhibition installation detail: Here Be Dragons, October 2011 - January 2012, featuring work by Wendy McNaughton, Lordy Rodriguez, and Tucker Nichols, Intersection for the Arts.\" width=\"640\" height=\"427\" class=\"size-full wp-image-10139286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection3-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection3-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition installation detail: \u003cb>Here Be Dragons\u003c/b>, October 2011 – January 2012, featuring work by Wendy McNaughton, Lordy Rodriguez, and Tucker Nichols, Intersection for the Arts.\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, following the breakout groups, Board President Yancy Widmer addressed persistent questions about the organization’s difficulties. The challenges, he said, could be attributed to a “perfect storm.” He summarily cited a lack of unrestricted income, the absence of a significant reserve, the executive director’s leadership transition, as well as anticipated funds and community contributions that didn’t come through this year. “The board spent a lot of time trying to figure out the complexity of the situation and took too long,” he said. (So it would seem, given that Cullinan left in September 2013 after giving three months notice to transition to her new role as executive director at Yerba Buena Center for the Arts.)\u003c/p>\n\u003cp>It is also widely known that the longtime program directors – Kevin B. Chen, Sean San José, and Rebeka Rodriquez, each involved with the organization for more than a decade – were not included in conversations about the precariousness of the situation. They were only informed that their programs were being suspended about two weeks before the situation was made public. In a conversation for this article, Widmer said that the program directors were informed as soon as the board was made aware of the financial difficulties. Despite hosting a modestly successful fundraiser in April, one month before the organization ran aground, there was no appeal to the community until now.\u003c/p>\n\u003cp>Given the compressed timeline of recent events, it would seem that the present situation is due to the board’s failure to understand the cost of their own delays and how they might impact finances. By failing to hire an executive director — no formal search was ever announced, though according to Widmer, informal conversations had begun in April — the organization was precluded from applying for essential foundation grants that have been reliable cash infusions in the past. (Many will not grant to organizations with interim leadership, for fairly obvious reasons.) It was only clear that the situation was dire by the time it was too late to make public appeals for support. Though it remains touch and go, there is a glimmer of hope being stewarded by the former program directors.\u003c/p>\n\u003cfigure id=\"attachment_10139287\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/intersection4.jpg\" alt=\"Exhibition installation detail: Here Be Dragons, October 2011 - January 2012, featuring Wendy McNaughton, Intersection for the Arts.\" width=\"640\" height=\"960\" class=\"size-full wp-image-10139287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection4-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/intersection4-200x300.jpg 200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibition installation detail: \u003cb>Here Be Dragons\u003c/b>, October 2011 – January 2012, featuring Wendy McNaughton, Intersection for the Arts.\u003c/figcaption>\u003c/figure>\n\u003cp>Even as Chen, San José, and Rodriguez are volunteering their time in an attempt to salvage Intersection’s core values, they will not return to their former roles. Each has decided to move on once the organization is stabilized, but they firmly believe that the return of Intersection is imperative. They are the ones who have spearheaded the transition and have been successful at securing $25K in stabilization funds from the city; a significant coalition of local funders is also being brought into the conversation. There is still a lot of work ahead, and securing new leadership is critical, but many believe it can be done. Simply because it has been done before.\u003c/p>\n\u003cp>Throughout the evening, a few people cited Intersection’s origins in the mid-1960s as a space for artists to gather – highly unusual for the time – and as a community center for conscientious objectors to the American War in Vietnam. The organization has \u003cem>always \u003c/em>been engaged in struggle. It only exists now because it has been championed by the community historically.\u003c/p>\n\u003cp>Calling all “public individuals manifesting power.” It’s time to pay it forward.\u003c/p>\n\u003cp>“Intersection has had many chapters,” Kevin Chen said in conversation. “Before this chapter, Intersection died in a very similar fashion in the ’90s after slashing all but its literary program. Ultimately, it was a group of inspired people who revived it. The same thing can happen again. There are other chapters to be written.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Intersection for the Arts will host a second community meeting on August 19, 2014. For \u003ca href=\"http://theintersection.org/\">more information\u003c/a>, visit theintersection.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://mobile.nytimes.com/2014/07/18/theater/elaine-stritch-tart-tongued-broadway-actress-and-singer-is-dead-at-89.html\" target=\"_blank\" rel=\"noopener\">\u003ci>New York Times\u003c/i> reports\u003c/a> that Elaine Stritch, “the brassy, tart-tongued Broadway actress and singer who became a living emblem of show business durability” died in her Michigan home today. She was 89.\u003c/p>\n\u003cp>Stritch was famous for her interpretations of Stephen Sondheim, but may be better known to some as Jack Donaghy’s mother, Colleen, on the NBC sitcom \u003ci>30 Rock\u003c/i>. \u003c/p>\n\u003cp>http://youtu.be/uqmz10zonAU\u003c/p>\n\u003cp>Baldwin produced a documentary about Stritch last year that documented the star’s long career as well as captured her bawdy sense of humor and famously smart mouth. In this trailer for the film she tells John Turturro, “I did \u003ci>Virginia Woolfe\u003c/i> on Broadway and for the first time in my life I had an orgasm.”\u003c/p>\n\u003cp>http://youtu.be/zQysjiUA68U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can hear Baldwin and Stritch’s obvious affection for one another in a May 2013 interview for Baldwin’s show, \u003ci>Here’s the Thing\u003c/i>. It’s also interesting to hear the star, famous for her career longevity, talk about retiring to Michigan and letting go of show business. \u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Alec Baldwin’s May 2013 \u003ci>Here’s the Thing\u003c/i> interview with Stritch: \u003c/h4>\n\u003cp>http://www.podtrac.com/pts/redirect.mp3/audio.wnyc.org/heresthethingpod_no_aw/heresthethingpod051313_estritch_pod.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://mobile.nytimes.com/2014/07/18/theater/elaine-stritch-tart-tongued-broadway-actress-and-singer-is-dead-at-89.html\" target=\"_blank\" rel=\"noopener\">\u003ci>New York Times\u003c/i> reports\u003c/a> that Elaine Stritch, “the brassy, tart-tongued Broadway actress and singer who became a living emblem of show business durability” died in her Michigan home today. She was 89.\u003c/p>\n\u003cp>Stritch was famous for her interpretations of Stephen Sondheim, but may be better known to some as Jack Donaghy’s mother, Colleen, on the NBC sitcom \u003ci>30 Rock\u003c/i>. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uqmz10zonAU'\n title='//www.youtube.com/embed/uqmz10zonAU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Baldwin produced a documentary about Stritch last year that documented the star’s long career as well as captured her bawdy sense of humor and famously smart mouth. In this trailer for the film she tells John Turturro, “I did \u003ci>Virginia Woolfe\u003c/i> on Broadway and for the first time in my life I had an orgasm.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zQysjiUA68U'\n title='//www.youtube.com/embed/zQysjiUA68U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Elaine Stritch — one of Broadway’s boldest and brassiest performers — has died. With that gravelly voice — and those long legs — and that utter command of the stage, Stritch was a bona fide Broadway star. Not as a classic leading lady, necessarily, but as the hardened-yet-vulnerable performer audiences couldn’t forget. Stritch died of natural causes Thursday morning at her home in Birmingham, Mich. She was 89.\u003c/p>\n\u003cp>In \u003ca href=\"http://www.npr.org/2014/03/01/280715944/elaine-stritch-volatile-and-vulnerable-in-shoot-me\" target=\"_blank\" rel=\"noopener\">an interview with Stritch\u003c/a> in March 2014, NPR’s Scott Simon observed that the stage and screen legend “may be her own greatest character.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Stritch’s interview on \u003ci>Weekend Edition\u003c/i> back in March: \u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/wesat/2014/03/20140301_wesat_elaine_stritch_volatile_and_vulnerable_in_shoot_me.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cfigure id=\"attachment_10139241\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap5501010929_custom-d76a7bd75fab7a20dfd3ae2232640f94bd8d36fd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap5501010929_custom-d76a7bd75fab7a20dfd3ae2232640f94bd8d36fd.jpg\" alt=\"Stritch first appeared on Broadway in 1944 -- and was still performing occasionally even at age 89. She is pictured above in 1955\" width=\"200\" height=\"255\" class=\"size-full wp-image-10139241\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stritch first appeared on Broadway in 1944 — and was still performing occasionally even at age 89. She is pictured above in 1955\u003c/figcaption>\u003c/figure>\n\u003cp>In a career that stretched back to the 1940s, Stritch did it all: theater, TV, movies. She was nominated for several Tony Awards and won three Emmys. She starred in the 1961 Noel Coward musical \u003cem>Sail Away\u003c/em>\u003cem> \u003c/em>and the 1970 Stephen Sondheim musical \u003cem>Company.\u003c/em> (With her performance of \u003ca href=\"http://youtu.be/virv-1o2KjE?t=7s\" target=\"_blank\" rel=\"noopener\">“Ladies Who Lunch,”\u003c/a> Sondheim said Stritch turned what he thought was “just a simple saloon song” into a “piece of theater.”\u003c/p>\n\u003cp>Stritch was born in Detroit, where her father was a rubber company executive. She was raised Roman Catholic and when she first moved to New York City, she went to a finishing school at the Convent of the Sacred Heart. Years later, Broadway producer Hal Prince said Stritch had “the guts of a jailbird” but “the convent girl is still there.”\u003c/p>\n\u003cp>It’s been said that Stritch could always play older than she really was. She was 20 when she sang Zip in \u003cem>Pal Joey\u003c/em> but Stritch herself said she looked 40. She had a terrific sense of humor about her looks — and her age. In 1988, Stritch told NPR’s Susan Stamberg that she didn’t mind the word “aging” at all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It applies to everyone,” she said. “I saw a kid 16 on the street and he was aging. We’re all aging but somehow the press loves to say it when you’re over 40.”\u003c/p>\n\u003cfigure id=\"attachment_10139242\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap541122042_enl-ead9878c3997a67b93b92eeb8596a008803656d7-e1405642663572.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap541122042_enl-ead9878c3997a67b93b92eeb8596a008803656d7-1153x1440.jpg\" alt=\"Stritch blows up balloons as a voice training exercise in November 1954.\" width=\"640\" height=\"799\" class=\"size-large wp-image-10139242\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stritch blows up balloons as a voice training exercise in November 1954.\u003c/figcaption>\u003c/figure>\n\u003cp>Stritch was candid about everything — her age, her alcoholism, her diabetes. In her book \u003cem>Am I Blue?: Living with Diabetes and, Dammit, Having Fun!,\u003c/em> she wrote about being diagnosed with the disease at the peak of her career.\u003c/p>\n\u003cp>“More than with any other condition I know of,” she wrote, “the diabetic simply has to understand the nature of the illness and become intimately involved in treating it.” But with her trademark wit she also said: “Diabetes is great because I can say ‘My blood sugar is off. I have to go.'”\u003c/p>\n\u003cp>In 2002, when she was in her late 70s, she launched a Tony Award-winning, one-woman show called \u003cem>Elaine Stritch at the Liberty. \u003c/em>She continued performing well into her 80s. In 2008 Stritch won an Emmy — her third — for her role as character Jack Donaghy’s mother on NBC’s \u003cem>30 Rock\u003c/em>.\u003c/p>\n\u003cp>Stritch once said, “I just pray that I can be at least amusing.” \u003c/p>\n\u003cp>And was she ever. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>KQED’s own \u003ca href=\"http://ww2.kqed.org/arts/author/marktaylor-2/\" target=\"_blank\" rel=\"noopener\">Mark Taylor\u003c/a> first wrote about Stritch’s passing this morning. \u003ca href=\"http://ww2.kqed.org/arts/2014/07/17/heres-to-the-ladies-who-lunch-elaine-stritch-dead-at-89/\" target=\"_blank\" rel=\"noopener\"> Read his article\u003c/a> for more video and anecdotes.\u003c/i>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actress+Elaine+Stritch%2C+%27Her+Own+Greatest+Character%2C%27+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Elaine Stritch — one of Broadway’s boldest and brassiest performers — has died. With that gravelly voice — and those long legs — and that utter command of the stage, Stritch was a bona fide Broadway star. Not as a classic leading lady, necessarily, but as the hardened-yet-vulnerable performer audiences couldn’t forget. Stritch died of natural causes Thursday morning at her home in Birmingham, Mich. She was 89.\u003c/p>\n\u003cp>In \u003ca href=\"http://www.npr.org/2014/03/01/280715944/elaine-stritch-volatile-and-vulnerable-in-shoot-me\" target=\"_blank\" rel=\"noopener\">an interview with Stritch\u003c/a> in March 2014, NPR’s Scott Simon observed that the stage and screen legend “may be her own greatest character.”\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Stritch’s interview on \u003ci>Weekend Edition\u003c/i> back in March: \u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/wesat/2014/03/20140301_wesat_elaine_stritch_volatile_and_vulnerable_in_shoot_me.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cfigure id=\"attachment_10139241\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap5501010929_custom-d76a7bd75fab7a20dfd3ae2232640f94bd8d36fd.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap5501010929_custom-d76a7bd75fab7a20dfd3ae2232640f94bd8d36fd.jpg\" alt=\"Stritch first appeared on Broadway in 1944 -- and was still performing occasionally even at age 89. She is pictured above in 1955\" width=\"200\" height=\"255\" class=\"size-full wp-image-10139241\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stritch first appeared on Broadway in 1944 — and was still performing occasionally even at age 89. She is pictured above in 1955\u003c/figcaption>\u003c/figure>\n\u003cp>In a career that stretched back to the 1940s, Stritch did it all: theater, TV, movies. She was nominated for several Tony Awards and won three Emmys. She starred in the 1961 Noel Coward musical \u003cem>Sail Away\u003c/em>\u003cem> \u003c/em>and the 1970 Stephen Sondheim musical \u003cem>Company.\u003c/em> (With her performance of \u003ca href=\"http://youtu.be/virv-1o2KjE?t=7s\" target=\"_blank\" rel=\"noopener\">“Ladies Who Lunch,”\u003c/a> Sondheim said Stritch turned what he thought was “just a simple saloon song” into a “piece of theater.”\u003c/p>\n\u003cp>Stritch was born in Detroit, where her father was a rubber company executive. She was raised Roman Catholic and when she first moved to New York City, she went to a finishing school at the Convent of the Sacred Heart. Years later, Broadway producer Hal Prince said Stritch had “the guts of a jailbird” but “the convent girl is still there.”\u003c/p>\n\u003cp>It’s been said that Stritch could always play older than she really was. She was 20 when she sang Zip in \u003cem>Pal Joey\u003c/em> but Stritch herself said she looked 40. She had a terrific sense of humor about her looks — and her age. In 1988, Stritch told NPR’s Susan Stamberg that she didn’t mind the word “aging” at all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It applies to everyone,” she said. “I saw a kid 16 on the street and he was aging. We’re all aging but somehow the press loves to say it when you’re over 40.”\u003c/p>\n\u003cfigure id=\"attachment_10139242\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap541122042_enl-ead9878c3997a67b93b92eeb8596a008803656d7-e1405642663572.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap541122042_enl-ead9878c3997a67b93b92eeb8596a008803656d7-1153x1440.jpg\" alt=\"Stritch blows up balloons as a voice training exercise in November 1954.\" width=\"640\" height=\"799\" class=\"size-large wp-image-10139242\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stritch blows up balloons as a voice training exercise in November 1954.\u003c/figcaption>\u003c/figure>\n\u003cp>Stritch was candid about everything — her age, her alcoholism, her diabetes. In her book \u003cem>Am I Blue?: Living with Diabetes and, Dammit, Having Fun!,\u003c/em> she wrote about being diagnosed with the disease at the peak of her career.\u003c/p>\n\u003cp>“More than with any other condition I know of,” she wrote, “the diabetic simply has to understand the nature of the illness and become intimately involved in treating it.” But with her trademark wit she also said: “Diabetes is great because I can say ‘My blood sugar is off. I have to go.'”\u003c/p>\n\u003cp>In 2002, when she was in her late 70s, she launched a Tony Award-winning, one-woman show called \u003cem>Elaine Stritch at the Liberty. \u003c/em>She continued performing well into her 80s. In 2008 Stritch won an Emmy — her third — for her role as character Jack Donaghy’s mother on NBC’s \u003cem>30 Rock\u003c/em>.\u003c/p>\n\u003cp>Stritch once said, “I just pray that I can be at least amusing.” \u003c/p>\n\u003cp>And was she ever. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>KQED’s own \u003ca href=\"http://ww2.kqed.org/arts/author/marktaylor-2/\" target=\"_blank\" rel=\"noopener\">Mark Taylor\u003c/a> first wrote about Stritch’s passing this morning. \u003ca href=\"http://ww2.kqed.org/arts/2014/07/17/heres-to-the-ladies-who-lunch-elaine-stritch-dead-at-89/\" target=\"_blank\" rel=\"noopener\"> Read his article\u003c/a> for more video and anecdotes.\u003c/i>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actress+Elaine+Stritch%2C+%27Her+Own+Greatest+Character%2C%27+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv>\u003c/div>\n\u003cp>California’s water bureaucracy has approved penalties against the hydro-criminals among us who do things like wash down sidewalks and dump too much water on our lawns. Penalties could be as much as $500 per offense. It remains to be seen how the scores and score of water agencies that \u003ca href=\"http://ww2.kqed.org/news/2014/07/16/lady-gaga-california-water-conservation\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/07/16/lady-gaga-california-water-conservation\" target=\"_self\" title=\"Lady Gaga: California Water-Conservation Cheerleader\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"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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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"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",
"subscribe": {
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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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"source": "PRI"
},
"link": "/radio/program/pri-the-world",
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"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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