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"content": "\u003cp>“You wouldnt look so smart wit my dic in your mouth.” – Anonymous, sent to me on Tumblr\u003c/p>\n\u003cp>I am female on the Internet, an occupation that comes with near daily comments like the one above. I have so far not received any death threats, only demands of a sexual nature, critiques of my physical appearance, veiled threats of rape, and reminders that my content would be more popular if I would just wear a low cut shirt. It’s nothing new; women get harassed, trolled, demeaned, belittled, and objectified online.\u003c/p>\n\u003cp>If you need numbers to reassure you that women’s online lives are being riddled with disrespectful harassment at a disproportionately high rate compared to men, Amanda Hess’ \u003ca href=\"http://www.psmag.com/navigation/health-and-behavior/women-arent-welcome-internet-72170/\">piece in \u003ci>Pacific Standard\u003c/i>\u003c/a> is a great place to start. She confronts online harassment and her own experiences with law enforcement officers unwilling to take threats seriously because they were on Twitter. Hess documents the game of hot potato played by police and the companies that host threatening comments regarding who should be responsible for action.\u003c/p>\n\u003cp>It’s not like this treatment is actually deterring women from creating content and living publicly online, right? According to Emily Graslie, host of \u003ci>\u003ca href=\"http://www.youtube.com/user/thebrainscoop\">The BrainScoop\u003c/a>\u003c/i>, a YouTube channel focused on natural history from the Field Museum in Chicago, “While there are at least 13 STEM (Science, Technology, Engineering and Mathematics) channels hosted by men with over 400,000 subscribers and 7 of those 13 which have topped a million, there are only four channels hosted by women that have even 160,000 subscribers.” So female producers can expect both lower viewership and more harassment. What fun!\u003c/p>\n\u003cp>And STEM women may have a particularly uphill battle. As a fellow female STEM YouTuber — the writer and host of an educational show about technology — I draw a nearly 75% male audience according to YouTube’s internal statistics. And, as Whitney Phillips said in her TED Talk on subcultural trolling, the demographic of trolls is “males, between the ages of 18 and 34-ish, predominantly white, and predominantly English speaking.” Even though many men online are active supporters of female content creators, and the actions of a few should never disparage an entire gender, I still currently employ censorship just to keep the comments on my educational channel civil. The functionality is a great improvement to what has long been known as the worst comments section on the Internet, but this type of censorship is a poor weapon against trolling. Censored words are easy to get around and often give bullies the incentive to be more creative in their wording.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> http://www.youtube.com/watch?v=FAubx3BBgLk\u003c/p>\n\u003cp>What should we do about it? The pervasive opinion online is that you should just ignore terrible comments; delete them if you have time, but just move on. “Don’t feed the trolls.” But as former US Supreme Court Justice Louis Brandeis famously said, regarding the First Amendment protection afforded hate speech, “The remedy to be applied is more speech, not enforced silence.” Silence drives minorities out of public discussion and interaction and further homogenizes who speaks and thus who is seen as influential online. Without public backlash to this treatment, sexism becomes normal online.\u003c/p>\n\u003cp>Anita Sarkeesian, the creator of the YouTube channel \u003ci>Feminist Frequency\u003c/i> noted in a TED Talk detailing the online campaign against her video project about depictions of women in video games, “[Cyber Mobs are] maintaining, reinforcing and normalizing a culture of sexism where men who harass are supported by their peers and rewarded for their sexist attitudes and behaviors. And where women are silenced, marginalized and excluded from full participation.”\u003c/p>\n\u003cp> http://www.youtube.com/watch?v=GZAxwsg9J9Q\u003c/p>\n\u003cp>There is gender inequality and mistreatment of women the world over, so why do I care so much about the Internet? I write and make YouTube videos, network, socialize and share my work online. My life happens online. The Internet is young and its picturesque promise of connecting a global society may well be possible, but currently that connection means exposing people — especially female people — to a torrent of degrading speech. Harassment is not going away and — until someone (*cough* Google *cough*) makes a context-aware, artificially intelligent search system capable of differentiating criticism from harassment — we are stuck defending ourselves and others when abuse arises.\u003c/p>\n\u003cp>The encouragement to ‘not take it too seriously’ when online commenters trend toward the misogynistic is ludicrous. Sharing outrage at this treatment can rally communities that might otherwise just shake their heads at sexist comments, underrepresentation or unequal pay and move on. The anonymization of abuse and thus the perceived inability to shame or find recourse is no excuse to stay quiet. When others threaten, abuse, mock, and troll online we have to share it with the world, not just to squash bullies but to build a community that understands the realities and rallies behind women online. As Nigerian novelist Chimamanda Ngozi Adichie says in her TED talk about why we should all be feminists, “Anger has a long history of bringing about positive change.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=hg3umXU_qWc\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“You wouldnt look so smart wit my dic in your mouth.” – Anonymous, sent to me on Tumblr\u003c/p>\n\u003cp>I am female on the Internet, an occupation that comes with near daily comments like the one above. I have so far not received any death threats, only demands of a sexual nature, critiques of my physical appearance, veiled threats of rape, and reminders that my content would be more popular if I would just wear a low cut shirt. It’s nothing new; women get harassed, trolled, demeaned, belittled, and objectified online.\u003c/p>\n\u003cp>If you need numbers to reassure you that women’s online lives are being riddled with disrespectful harassment at a disproportionately high rate compared to men, Amanda Hess’ \u003ca href=\"http://www.psmag.com/navigation/health-and-behavior/women-arent-welcome-internet-72170/\">piece in \u003ci>Pacific Standard\u003c/i>\u003c/a> is a great place to start. She confronts online harassment and her own experiences with law enforcement officers unwilling to take threats seriously because they were on Twitter. Hess documents the game of hot potato played by police and the companies that host threatening comments regarding who should be responsible for action.\u003c/p>\n\u003cp>It’s not like this treatment is actually deterring women from creating content and living publicly online, right? According to Emily Graslie, host of \u003ci>\u003ca href=\"http://www.youtube.com/user/thebrainscoop\">The BrainScoop\u003c/a>\u003c/i>, a YouTube channel focused on natural history from the Field Museum in Chicago, “While there are at least 13 STEM (Science, Technology, Engineering and Mathematics) channels hosted by men with over 400,000 subscribers and 7 of those 13 which have topped a million, there are only four channels hosted by women that have even 160,000 subscribers.” So female producers can expect both lower viewership and more harassment. What fun!\u003c/p>\n\u003cp>And STEM women may have a particularly uphill battle. As a fellow female STEM YouTuber — the writer and host of an educational show about technology — I draw a nearly 75% male audience according to YouTube’s internal statistics. And, as Whitney Phillips said in her TED Talk on subcultural trolling, the demographic of trolls is “males, between the ages of 18 and 34-ish, predominantly white, and predominantly English speaking.” Even though many men online are active supporters of female content creators, and the actions of a few should never disparage an entire gender, I still currently employ censorship just to keep the comments on my educational channel civil. The functionality is a great improvement to what has long been known as the worst comments section on the Internet, but this type of censorship is a poor weapon against trolling. Censored words are easy to get around and often give bullies the incentive to be more creative in their wording.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> http://www.youtube.com/watch?v=FAubx3BBgLk\u003c/p>\n\u003cp>What should we do about it? The pervasive opinion online is that you should just ignore terrible comments; delete them if you have time, but just move on. “Don’t feed the trolls.” But as former US Supreme Court Justice Louis Brandeis famously said, regarding the First Amendment protection afforded hate speech, “The remedy to be applied is more speech, not enforced silence.” Silence drives minorities out of public discussion and interaction and further homogenizes who speaks and thus who is seen as influential online. Without public backlash to this treatment, sexism becomes normal online.\u003c/p>\n\u003cp>Anita Sarkeesian, the creator of the YouTube channel \u003ci>Feminist Frequency\u003c/i> noted in a TED Talk detailing the online campaign against her video project about depictions of women in video games, “[Cyber Mobs are] maintaining, reinforcing and normalizing a culture of sexism where men who harass are supported by their peers and rewarded for their sexist attitudes and behaviors. And where women are silenced, marginalized and excluded from full participation.”\u003c/p>\n\u003cp> http://www.youtube.com/watch?v=GZAxwsg9J9Q\u003c/p>\n\u003cp>There is gender inequality and mistreatment of women the world over, so why do I care so much about the Internet? I write and make YouTube videos, network, socialize and share my work online. My life happens online. The Internet is young and its picturesque promise of connecting a global society may well be possible, but currently that connection means exposing people — especially female people — to a torrent of degrading speech. Harassment is not going away and — until someone (*cough* Google *cough*) makes a context-aware, artificially intelligent search system capable of differentiating criticism from harassment — we are stuck defending ourselves and others when abuse arises.\u003c/p>\n\u003cp>The encouragement to ‘not take it too seriously’ when online commenters trend toward the misogynistic is ludicrous. Sharing outrage at this treatment can rally communities that might otherwise just shake their heads at sexist comments, underrepresentation or unequal pay and move on. The anonymization of abuse and thus the perceived inability to shame or find recourse is no excuse to stay quiet. When others threaten, abuse, mock, and troll online we have to share it with the world, not just to squash bullies but to build a community that understands the realities and rallies behind women online. As Nigerian novelist Chimamanda Ngozi Adichie says in her TED talk about why we should all be feminists, “Anger has a long history of bringing about positive change.”\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hg3umXU_qWc'\n title='//www.youtube.com/embed/hg3umXU_qWc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Off/Page Project Poets Draw on Public Housing Investigation",
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"content": "\u003cp>“I see barren hallways / Broken cameras / Uninvited guests / There’s no service here / As if a sea of people were cast away on an island to fend for themselves”\u003c/p>\n\u003cp>So begins the first verse of the latest example of sourced storytelling for the Off/Page Project. The project is a collaboration between \u003ca href=\"http://cironline.org/\">The Center for Investigative Reporting\u003c/a> and \u003ca href=\"http://youthspeaks.org/\">Youth Speaks\u003c/a>, the leading nonprofit presenter of spoken word performance, education and youth development programs in the country.\u003c/p>\n\u003cp>In conjunction with CIR’s new investigation — produced in partnership with the \u003ca href=\"http://www.sfchronicle.com/\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a> and KQED — about the failures of Richmond, CA’s public housing agency, Off/Page recruited three poets from a local nonprofit to work with CIR reporter Amy Julia Harris.\u003c/p>\n\u003cp>Watch Off/Page’s new video, \u003ci>This is Home\u003c/i>, which weaves the narratives of \u003ca href=\"http://ww2.kqed.org/news/2014/02/11/residents-live-in-filth-in-mismanaged-richmond-public-housing/\">the investigation\u003c/a> with the poets’ experiences growing up in Richmond.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=xqyIOT2LkvU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>José Vadi is the project director of the Off/Page Project, a collaboration between The Center for Investigative Reporting and Youth Speaks. Contact him at jvadi@cironline.org.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I see barren hallways / Broken cameras / Uninvited guests / There’s no service here / As if a sea of people were cast away on an island to fend for themselves”\u003c/p>\n\u003cp>So begins the first verse of the latest example of sourced storytelling for the Off/Page Project. The project is a collaboration between \u003ca href=\"http://cironline.org/\">The Center for Investigative Reporting\u003c/a> and \u003ca href=\"http://youthspeaks.org/\">Youth Speaks\u003c/a>, the leading nonprofit presenter of spoken word performance, education and youth development programs in the country.\u003c/p>\n\u003cp>In conjunction with CIR’s new investigation — produced in partnership with the \u003ca href=\"http://www.sfchronicle.com/\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a> and KQED — about the failures of Richmond, CA’s public housing agency, Off/Page recruited three poets from a local nonprofit to work with CIR reporter Amy Julia Harris.\u003c/p>\n\u003cp>Watch Off/Page’s new video, \u003ci>This is Home\u003c/i>, which weaves the narratives of \u003ca href=\"http://ww2.kqed.org/news/2014/02/11/residents-live-in-filth-in-mismanaged-richmond-public-housing/\">the investigation\u003c/a> with the poets’ experiences growing up in Richmond.\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/xqyIOT2LkvU'\n title='//www.youtube.com/embed/xqyIOT2LkvU'\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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"title": "Mission Local Announces Tech Bus Design Contest Winner",
"headTitle": "Mission Local Announces Tech Bus Design Contest Winner | KQED",
"content": "\u003cp>\u003ci>Mission Local\u003c/i> announced the\u003cbr>\n\u003ca href=\"http://missionlocal.org/2014/02/entries-wrap-tech-buses-with-humor-anger-art-politics-and-the-winner-is/\">winning design of its tech bus contest\u003c/a> yesterday with what might, at first glance, seem like a fairly innocuous proposal. Artist and Mission resident Elinor Diamond’s winning submission imagines a bus wrapped with a life-sized Google Street View image of the Mission’s Community Thrift Store, including a sidelong view of the \u003ca href=\"https://www.facebook.com/pages/Clarion-Alley-Mural-Project/127102311571\">Clarion Alley Mural Project\u003c/a> (CAMP) — locations beloved by locals and internationals alike. Diamond’s design, perhaps inadvertantly, further underscores tensions around the contest, with CAMP artists up in arms after they explicitly refused to participate in the contest and objected to the use of their work in this context. In response to the announcement of the winning design, core CAMP organizer Megan Wilson \u003ca href=\"http://meganwilson.com/sub/\">publicly posted emails from CAMP artists\u003c/a> articulating their objections to the contest.\u003c/p>\n\u003cp>Last October, \u003ca href=\"http://missionlocal.org/\">\u003ci>Mission Local\u003c/i>\u003c/a>, an online news outlet specific to San Francisco’s Mission District, announced its unofficial contest, challenging artists to create designs to decorate the white commuter buses that shuttle tech workers between San Francisco and Silicon Valley. A cash prize of $500, supplied by an anonymous donor, was offered for the winning design, to be selected by the \u003ci>Mission Local\u003c/i> editorial staff. The initial \u003ca href=\"http://missionlocal.org/2013/10/moving-murals-bedazzle-a-tech-bus-and-win-500/\">contest announcement\u003c/a> was straightforward: “If you live or work in the Mission, you’re no stranger to the buses run by Google, Facebook, Apple, Yahoo, and Genentech… Don’t they look like big canvases just waiting to be painted on?” Contestants were simply encouraged to make the buses “beautiful,” with submissions due by the end of December. Judging by the entries posted online, some artists approached the buses as directed, proposing largely decorative designs, while others saw the contest as an opportunity to offer cultural critique about what the buses have come to represent.\u003c/p>\n\u003cp>And then things got complicated.\u003c/p>\n\u003cp>Over the last year, these plain white shuttle buses have become potent symbols for the rapidly growing technology sector, widespread gentrification and the shifting Bay Area landscape, as longstanding community members, nonprofit organizations and local businesses have been displaced by rising rents. A number of community organizations, many spurred by the Occupy movement, have banded together to address this inequity, several specific to the Mission, including: \u003ca href=\"http://evictionfreesummer.wordpress.com/\">Eviction Free San Francisco\u003c/a>, \u003ca href=\"https://www.facebook.com/pages/Our-Mission-NO-Eviction/533750263364322\">Our Mission NO Eviction\u003c/a>, and \u003ca href=\"http://www.cjjc.org/\">Causa Justa::Just Cause\u003c/a>, among others. Online the \u003ca href=\"http://antievictionmappingproject.wordpress.com/\">Anti-Eviction Mapping Project\u003c/a> gives visual form to the issues.\u003c/p>\n\u003cp>For some, however, the tech-company buses represent a degree of environmental consciousness — some Genentech buses bear stickers that say, “This bus removes 120 cars from your commute everyday.” For others, the buses are the most visible icons of encroaching technology; after all, most tech companies are situated far outside of the city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a telephone interview for this article, \u003ci>Mission Local\u003c/i> Managing Editor Lydia Chávez, also a professor at U.C. Berkeley’s Graduate School of Journalism, said, “There is an anonymity to the buses that is the issue — it’s about their separateness,” before suggesting that making the buses look more like part of the environment might ease tensions. Certainly this could be true — assimilating the buses into the urban fabric would diminish their widely perceived separateness. When asked why a news outlet geared towards community building in a historically underprivileged neighborhood would want to assist in assimilating the same elements that are undermining a longstanding community, Chávez suggested that the buses could also be “fun, beautiful and a good reflection on the community.”\u003c/p>\n\u003cp>An article written in February of last year by San Francisco’s Rebecca Solnit for the \u003ca href=\"http://www.lrb.co.uk/v35/n03/rebecca-solnit/diary\">\u003ci>London Review of Books\u003c/i>\u003c/a> unpacks the buses as political icons of change, specifically citing their separateness. As more technology workers choose to live in San Francisco, rents — and evictions — escalate. “I think of it as frontierism,” writes Solnit, “with all the frontier’s attitude and operational style. Where people without a lot of attachments come and do things without a lot of concern for their impact, where money moves around pretty casually, and people are ground underfoot equally casually. Sometimes the Google bus just seems like one face of Janus-headed capitalism; it contains the people too valuable even to use public transport or drive themselves.”\u003c/p>\n\u003cp>In the last few months, a series of protests at tech-company bus stops in San Francisco and Oakland has exemplified these mounting tensions and leveraged dialogue around the significance of shifting wealth dynamics across the country, while others have taken to social media.\u003c/p>\n\u003cp>San Francisco-based artist Stephanie Syjuco saw the \u003ci>Mission Local\u003c/i> contest as a way to further dialogue around what the buses have come to represent. Since it called upon artists to work on spec — another point of contention: essentially asking artists to work for very little return — to beautify the same symbols of pervasive change that have displaced many in the creative community, why not use the contest itself as a platform for dialogue?\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/techbus1.jpg\" width=\"500\" height=\"304\" alt=\"Stephanie Syjuco, Public Comfort, 2013\" class>\u003cfigcaption class=\"wp-caption-text\">Stephanie Syjuco, Public Comfort, 2013\u003c/figcaption>\u003c/figure>\n\u003cp>Syjuco offered to facilitate the design of submissions by other artists through an open call on her Facebook page, and invited descriptions of “the bizarre, the biting, the critical, the crazy.” Participants posted descriptions and Syjuco, with her assistant Johanna Friedman, created mock-ups based on their understanding of the desired image; the pair ultimately supplied design support for more than fifty submissions.\u003c/p>\n\u003cp>By her own estimate, about half of those who offered ideas genuinely wanted to submit, while the other half just tossed ideas out for fun. For her part, Syjuco emphasizes that she “took all comers,” even if she didn’t always like or understand the relayed descriptions. The point was not to facilitate only the ideas she favored, but to create the platform for a diversity of voices. This kind of open collaboration is on par with Syjuco’s larger body of work, which regularly critiques capitalism and aims to create participatory platforms “for other people’s voices in difficult situations.”\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/techbus2.jpg\" width=\"500\" height=\"301\" alt=\"David Lawrence, Cattle Car Tech Bus, 2013\" class>\u003cfigcaption class=\"wp-caption-text\">David Lawrence, Cattle Car Tech Bus, 2013\u003c/figcaption>\u003c/figure>\n\u003cp>The resulting submissions are representative of the biting and the critical, to be sure, just as they are representative of the bizarre. One design proposes wrapping an entire bus to look like a cattle car, while another suggests the creation of Russian social realism-style portraits of Chelsea Manning, Julian Assange, and Edward Snowden emblazoned with the words “Let It Leak.” One of Syjuco’s own designs, suggests wrapping the tech buses to look like public transportation, so they will blend in better.\u003c/p>\n\u003cp>\u003ci>Mission Local\u003c/i> posted many but not all of the submissions during the run of the contest; this, surmises Syjuco, might be due to the fact that some could be considered profane. (One submission, resulting from a casual comment, features a photograph of a penis sprouting ears. Though never intended to be a serious submission, Facebook took it at face value: It was removed from Syjuco’s wall for violating community standards after someone reported that it contained nudity.)\u003c/p>\n\u003cp>Some of the submissions, beyond those facilitated by Syjuco, offer critical positions about the buses and reflect upon issues of surveillance, servitude, and homelessness; others simply offer artful designs, including several submitted by the \u003ci>Mission Local\u003c/i> staff.\u003c/p>\n\u003cp>In a conversation for this article, Syjuco noted that the contest itself becomes a kind of Rorschach test, offering different perspectives depending on who is viewing the images. The debate about encroaching technology and wealth displacement is so heated as to seem irreconcilable.\u003c/p>\n\u003cp>The fact that surveillance technology has been deployed in the winning submission to essentially co-opt the artwork of artists who have protested the buses at every turn seems lost on many who see the buses as blank canvases waiting to be decorated. (\u003ca href=\"http://missionlocal.org/2014/02/entries-wrap-tech-buses-with-humor-anger-art-politics-and-the-winner-is/\">Check out the announcement’s comments section for a heated debate about who owns the images on Clarion Alley.\u003c/a>)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The contest, presented as an unofficial endeavor with the vague promise of attracting tech-company bus commissions, has provided a test case for the potential public response to various strategies of assimilation, which seems imminent — perhaps designed with artists’ cheap labor, of which there is currently no shortage despite dissent within the ranks. Whether or not artwork will adorn these vehicles of change remains to be seen. Even with public opinion gridlocked, this much is certain: The buses keep rolling and tech-companies aren’t waiting for anyone to get on board.\u003c/p>\n\n",
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"excerpt": "SF Mission District blog announced the winner of its \"tech bus bedazzling\" contest yesterday, to puzzlement and a little controversy.",
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"description": "SF Mission District blog announced the winner of its "tech bus bedazzling" contest yesterday, to puzzlement and a little controversy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Mission Local\u003c/i> announced the\u003cbr>\n\u003ca href=\"http://missionlocal.org/2014/02/entries-wrap-tech-buses-with-humor-anger-art-politics-and-the-winner-is/\">winning design of its tech bus contest\u003c/a> yesterday with what might, at first glance, seem like a fairly innocuous proposal. Artist and Mission resident Elinor Diamond’s winning submission imagines a bus wrapped with a life-sized Google Street View image of the Mission’s Community Thrift Store, including a sidelong view of the \u003ca href=\"https://www.facebook.com/pages/Clarion-Alley-Mural-Project/127102311571\">Clarion Alley Mural Project\u003c/a> (CAMP) — locations beloved by locals and internationals alike. Diamond’s design, perhaps inadvertantly, further underscores tensions around the contest, with CAMP artists up in arms after they explicitly refused to participate in the contest and objected to the use of their work in this context. In response to the announcement of the winning design, core CAMP organizer Megan Wilson \u003ca href=\"http://meganwilson.com/sub/\">publicly posted emails from CAMP artists\u003c/a> articulating their objections to the contest.\u003c/p>\n\u003cp>Last October, \u003ca href=\"http://missionlocal.org/\">\u003ci>Mission Local\u003c/i>\u003c/a>, an online news outlet specific to San Francisco’s Mission District, announced its unofficial contest, challenging artists to create designs to decorate the white commuter buses that shuttle tech workers between San Francisco and Silicon Valley. A cash prize of $500, supplied by an anonymous donor, was offered for the winning design, to be selected by the \u003ci>Mission Local\u003c/i> editorial staff. The initial \u003ca href=\"http://missionlocal.org/2013/10/moving-murals-bedazzle-a-tech-bus-and-win-500/\">contest announcement\u003c/a> was straightforward: “If you live or work in the Mission, you’re no stranger to the buses run by Google, Facebook, Apple, Yahoo, and Genentech… Don’t they look like big canvases just waiting to be painted on?” Contestants were simply encouraged to make the buses “beautiful,” with submissions due by the end of December. Judging by the entries posted online, some artists approached the buses as directed, proposing largely decorative designs, while others saw the contest as an opportunity to offer cultural critique about what the buses have come to represent.\u003c/p>\n\u003cp>And then things got complicated.\u003c/p>\n\u003cp>Over the last year, these plain white shuttle buses have become potent symbols for the rapidly growing technology sector, widespread gentrification and the shifting Bay Area landscape, as longstanding community members, nonprofit organizations and local businesses have been displaced by rising rents. A number of community organizations, many spurred by the Occupy movement, have banded together to address this inequity, several specific to the Mission, including: \u003ca href=\"http://evictionfreesummer.wordpress.com/\">Eviction Free San Francisco\u003c/a>, \u003ca href=\"https://www.facebook.com/pages/Our-Mission-NO-Eviction/533750263364322\">Our Mission NO Eviction\u003c/a>, and \u003ca href=\"http://www.cjjc.org/\">Causa Justa::Just Cause\u003c/a>, among others. Online the \u003ca href=\"http://antievictionmappingproject.wordpress.com/\">Anti-Eviction Mapping Project\u003c/a> gives visual form to the issues.\u003c/p>\n\u003cp>For some, however, the tech-company buses represent a degree of environmental consciousness — some Genentech buses bear stickers that say, “This bus removes 120 cars from your commute everyday.” For others, the buses are the most visible icons of encroaching technology; after all, most tech companies are situated far outside of the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a telephone interview for this article, \u003ci>Mission Local\u003c/i> Managing Editor Lydia Chávez, also a professor at U.C. Berkeley’s Graduate School of Journalism, said, “There is an anonymity to the buses that is the issue — it’s about their separateness,” before suggesting that making the buses look more like part of the environment might ease tensions. Certainly this could be true — assimilating the buses into the urban fabric would diminish their widely perceived separateness. When asked why a news outlet geared towards community building in a historically underprivileged neighborhood would want to assist in assimilating the same elements that are undermining a longstanding community, Chávez suggested that the buses could also be “fun, beautiful and a good reflection on the community.”\u003c/p>\n\u003cp>An article written in February of last year by San Francisco’s Rebecca Solnit for the \u003ca href=\"http://www.lrb.co.uk/v35/n03/rebecca-solnit/diary\">\u003ci>London Review of Books\u003c/i>\u003c/a> unpacks the buses as political icons of change, specifically citing their separateness. As more technology workers choose to live in San Francisco, rents — and evictions — escalate. “I think of it as frontierism,” writes Solnit, “with all the frontier’s attitude and operational style. Where people without a lot of attachments come and do things without a lot of concern for their impact, where money moves around pretty casually, and people are ground underfoot equally casually. Sometimes the Google bus just seems like one face of Janus-headed capitalism; it contains the people too valuable even to use public transport or drive themselves.”\u003c/p>\n\u003cp>In the last few months, a series of protests at tech-company bus stops in San Francisco and Oakland has exemplified these mounting tensions and leveraged dialogue around the significance of shifting wealth dynamics across the country, while others have taken to social media.\u003c/p>\n\u003cp>San Francisco-based artist Stephanie Syjuco saw the \u003ci>Mission Local\u003c/i> contest as a way to further dialogue around what the buses have come to represent. Since it called upon artists to work on spec — another point of contention: essentially asking artists to work for very little return — to beautify the same symbols of pervasive change that have displaced many in the creative community, why not use the contest itself as a platform for dialogue?\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/techbus1.jpg\" width=\"500\" height=\"304\" alt=\"Stephanie Syjuco, Public Comfort, 2013\" class>\u003cfigcaption class=\"wp-caption-text\">Stephanie Syjuco, Public Comfort, 2013\u003c/figcaption>\u003c/figure>\n\u003cp>Syjuco offered to facilitate the design of submissions by other artists through an open call on her Facebook page, and invited descriptions of “the bizarre, the biting, the critical, the crazy.” Participants posted descriptions and Syjuco, with her assistant Johanna Friedman, created mock-ups based on their understanding of the desired image; the pair ultimately supplied design support for more than fifty submissions.\u003c/p>\n\u003cp>By her own estimate, about half of those who offered ideas genuinely wanted to submit, while the other half just tossed ideas out for fun. For her part, Syjuco emphasizes that she “took all comers,” even if she didn’t always like or understand the relayed descriptions. The point was not to facilitate only the ideas she favored, but to create the platform for a diversity of voices. This kind of open collaboration is on par with Syjuco’s larger body of work, which regularly critiques capitalism and aims to create participatory platforms “for other people’s voices in difficult situations.”\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/techbus2.jpg\" width=\"500\" height=\"301\" alt=\"David Lawrence, Cattle Car Tech Bus, 2013\" class>\u003cfigcaption class=\"wp-caption-text\">David Lawrence, Cattle Car Tech Bus, 2013\u003c/figcaption>\u003c/figure>\n\u003cp>The resulting submissions are representative of the biting and the critical, to be sure, just as they are representative of the bizarre. One design proposes wrapping an entire bus to look like a cattle car, while another suggests the creation of Russian social realism-style portraits of Chelsea Manning, Julian Assange, and Edward Snowden emblazoned with the words “Let It Leak.” One of Syjuco’s own designs, suggests wrapping the tech buses to look like public transportation, so they will blend in better.\u003c/p>\n\u003cp>\u003ci>Mission Local\u003c/i> posted many but not all of the submissions during the run of the contest; this, surmises Syjuco, might be due to the fact that some could be considered profane. (One submission, resulting from a casual comment, features a photograph of a penis sprouting ears. Though never intended to be a serious submission, Facebook took it at face value: It was removed from Syjuco’s wall for violating community standards after someone reported that it contained nudity.)\u003c/p>\n\u003cp>Some of the submissions, beyond those facilitated by Syjuco, offer critical positions about the buses and reflect upon issues of surveillance, servitude, and homelessness; others simply offer artful designs, including several submitted by the \u003ci>Mission Local\u003c/i> staff.\u003c/p>\n\u003cp>In a conversation for this article, Syjuco noted that the contest itself becomes a kind of Rorschach test, offering different perspectives depending on who is viewing the images. The debate about encroaching technology and wealth displacement is so heated as to seem irreconcilable.\u003c/p>\n\u003cp>The fact that surveillance technology has been deployed in the winning submission to essentially co-opt the artwork of artists who have protested the buses at every turn seems lost on many who see the buses as blank canvases waiting to be decorated. (\u003ca href=\"http://missionlocal.org/2014/02/entries-wrap-tech-buses-with-humor-anger-art-politics-and-the-winner-is/\">Check out the announcement’s comments section for a heated debate about who owns the images on Clarion Alley.\u003c/a>)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The contest, presented as an unofficial endeavor with the vague promise of attracting tech-company bus commissions, has provided a test case for the potential public response to various strategies of assimilation, which seems imminent — perhaps designed with artists’ cheap labor, of which there is currently no shortage despite dissent within the ranks. Whether or not artwork will adorn these vehicles of change remains to be seen. Even with public opinion gridlocked, this much is certain: The buses keep rolling and tech-companies aren’t waiting for anyone to get on board.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "priced-out-new-tech-wealth-and-san-franciscos-receding-art-scene",
"title": "Priced Out: New Tech Wealth and San Francisco's Receding Art Scene",
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"headTitle": "Priced Out: New Tech Wealth and San Francisco’s Receding Art Scene | KQED",
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"content": "\u003cp>In the last several months, the shifting socio-cultural landscape of the San Francisco Bay Area has become the focus of the international media, primarily in response to the rise of new technology and its aftereffects. \u003ca href=\"http://ww2.kqed.org/news/2014/01/21/yet-another-protest-against-tech-buses/\">Protests over tech commuter buses\u003c/a> as potent symbols of gentrification and displacement, and \u003ca href=\"http://www.dailymail.co.uk/news/article-2567548/Woman-attacked-wearing-Google-Glass-bar.html\">scuffles among strangers in public spaces\u003c/a> over Google Glass and its invasive surveillance technology have become San Francisco icons in the media. Suddenly, all eyes are on San Francisco as the center — or, perhaps, epicenter — of technology’s quaking authority over the 21st-century global community. In this regard, the city of San Francisco (really the greater Bay Area) has become a test case on the impact of rapidly escalating, brand-spanking-new wealth and its relationship to new technologies, privacy, public resources and social infrastructures. San Francisco has become a cautionary tale: Everything happening here can happen wherever else technology companies are setting up shop, which is everywhere. This article is the first in a series that will explore how this shifting terrain is dramatically impacting the livelihood of artists.\u003c/p>\n\u003cp>But, first, why should anyone care that the Bay Area is changing? So what if some tech entrepreneurs are sitting pretty with the 1%? \u003ca href=\"http://www.brookings.edu/research/papers/2014/02/cities-unequal-berube\">Wealth disparity\u003c/a> is nothing new, and cities change all the time: people leave, people arrive, businesses launch, businesses fail. It’s all a cycle. Even this current dot boom is part of a cycle of booms and busts in a community long focused on booming. And yet this time is different, in part because of the devastating impact new wealth is rendering on the fragile infrastructure of San Francisco’s homegrown art scene and its artists, as well as small businesses, nonprofits, advocacy organizations, lower income communities, families with children, immigrants, the mentally ill and homeless, and the generally disenfranchised.\u003c/p>\n\u003cp>Last week, longtime \u003ci>San Francisco Chronicle\u003c/i> art critic Kenneth Baker wrote an \u003ca href=\"http://www.sfgate.com/default/article/Art-galleries-swallowed-up-by-S-F-real-estate-5270305.php\">article about the recent displacement of galleries\u003c/a> due to exponentially inflated rents. He noted, “As far afield as Toronto and London, mid-level art gallery businesses face extinction by fast-growing, cash-rich enterprises hungry for office space in top locations.” Faced with an abrupt change in location, some galleries consider reinvention, while others simply disappear. (See KQED’s \u003ca href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\">article on gallery closures\u003c/a> and the ongoing \u003ca href=\"http://ww2.kqed.org/news/series/priced-out/\">Priced Out\u003c/a> series for more.)\u003c/p>\n\u003cfigure id=\"attachment_10134667\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/02/community.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/02/community.jpeg\" alt=\"From the SUBMISSION series; c. Mitche Manitou, 2014\" width=\"1280\" height=\"960\" class=\"size-full wp-image-10134667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/community.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/community-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/community-300x225.jpeg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/community-1024x768.jpeg 1024w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From the SUBMISSION series; c. Mitche Manitou, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>Recently Rena Bransten, George Krevsky, and Patricia Sweetow Galleries were priced out of their downtown locations at 77 Geary. Still others have closed in the past few years, including Don Soker (evicted and looking for a new space), Eli Ridgway, Guerrero Gallery, Marx & Zavaterro, Michael Rosenthal, Togonon Gallery, Triple Base, and Queens Nails. In Oakland, \u003ca href=\"http://oaklandnorth.net/2012/01/23/end-of-the-mama-buzz-era-new-cafe-telegraph-to-open-soon/\">Mama Buzz closed\u003c/a> in 2012, Swarm Gallery shuttered last year and Hatch Gallery announced its eviction this month. The absence of these physical spaces is a loss in the larger scheme of things, whether the individual galleries were popular or not. Galleries offer culture, community gathering spaces, and space for discourse, while exporting local artists and importing new ideas — all free to the viewer. In a conversation for this article, recent Guggenheim Fellow artist Michael Arcega, formerly represented by Marx & Zavattero, speaks of a familial sense of loss in the wake of the gallery’s closing, “So long as I kept making work that was relevant, they supported me and made an effort to create a support structure for my work. It’s very different now without that.”\u003c/p>\n\u003cp>Recently several prominent galleries have also relocated away from walk-able, BART-adjacent areas of downtown to less accessible reaches of the city in Potrero Hill, including Brian Gross, Catharine Clark, George Lawson, Jack Fisher, and Hosfelt galleries. Adobe Books, and the eponymous Adobe Books Backroom gallery, relocated after an extensive rent hike last year. \u003ci>The Thing Quarterly\u003c/i> owners Jonn Herschend and Will Rogan contemplated going out of business after losing their lease and finding rental prices untenable in the Mission. They ended up finding new offices in the Tenderloin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Several nonprofit organizations have also recently dissolved, including the Museum of Craft & Folk Art, Cell Space, and Visual Aid. Going back only slightly further in cultural memory, one could even consider San Francisco’s New Langton Arts or Oakland’s 21 Grand in this list; though perhaps not direct casualties of the tech boom, their respective closures heralded an indifference to the demise of smaller art organizations that is now commonplace culturally. These shifts in the art scene are exacerbated by the absence of the San Francisco Museum of Modern Art (closed for renovation until 2016), the San Francisco Arts Commission Main Gallery (closed for renovations until 2015), and the pending closure of the Berkeley Art Museum and Pacific Film Archive later this year (for relocation, also to reopen in 2015).\u003c/p>\n\u003cfigure id=\"attachment_10134668\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/02/1submission2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/02/1submission2.jpeg\" alt=\"From the SUBMISSION series; c. Mitche Manitou, 2014\" width=\"1280\" height=\"960\" class=\"size-full wp-image-10134668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/1submission2.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/1submission2-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/1submission2-300x225.jpeg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/1submission2-1024x768.jpeg 1024w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From the SUBMISSION series; c. Mitche Manitou, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>It is an astonishing amount of change in the Bay Area’s compact art scene, especially as these changes also represent a significant number of artists’ exhibitions and public events suspended or cancelled during transitions, while still other artists are without representation altogether.\u003c/p>\n\u003cp>The art community is an ecosystem that survives on the health of the commercial galleries. It is, to be blunt, how many artists make a living and promote their work. If you care about living in a community of art and artists, the health of the whole scene matters. The ripple effect of losing commercial galleries is that nonprofit organizations also receive less support and this then jeopardizes opportunities for artists to make art, eclipsing art at the grassroots level. \u003c/p>\n\u003cp>Notable here is a consideration of the type of organizations that have been compromised — for the most part, these are experimental venues that offer platforms for new and challenging contemporary art by living artists. There has been no surge of new spaces to fill their absences. The most prominent “arts organizations” formed in the wake of tech wealth have been notably privatized and pointedly pitched at the wealthy elite, such as the members-only Battery. Last October, San Francisco-based writer Anisse Grosse \u003ca href=\"http://www.newyorker.com/online/blogs/currency/2013/10/new-private-club-in-san-francisco.html\">wrote in the \u003ci>New Yorker\u003c/i>\u003c/a> that response to the spectacle of the Battery’s opening reflected “the bigger issue at hand: San Francisco itself is turning into a private, exclusive club” and noted the resulting loss of the “city’s celebrated counterculture” as being replaced by condominiums. The avant-garde and the iconoclasts are receding.\u003c/p>\n\u003cfigure id=\"attachment_10134738\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/02/future-condo1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/02/future-condo1.jpeg\" alt=\"From the SUBMISSION series; c. Mitche Manitou, 2014\" width=\"1280\" height=\"960\" class=\"size-full wp-image-10134738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/future-condo1.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/future-condo1-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/future-condo1-300x225.jpeg 300w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From the SUBMISSION series; c. Mitche Manitou, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>Courtney Fink, Executive Director of Southern Exposure, recently observed that despite the influx of sudden new wealth, the gap between small and large nonprofits has only widened. “Some key smaller artist-focused organizations are now trying to function on less than $300,000 a year, while SFMOMA undergoes a $555M expansion.” Like many in the art community, Fink recently received an Ellis Act eviction on her rental apartment in San Francisco. Due to real estate escalation, she is anticipating leaving for the East Bay after nearly twenty years in the city.\u003c/p>\n\u003cp>To understand how these shifts have wider implications, consider the ripple effects of Fink’s contributions within and beyond San Francisco to see what is potentially lost when creative people are forced to leave. Alternative Exposure, the regional re-granting program Fink initiated between Southern Exposure and the Andy Warhol Foundation for the Visual Arts, has funded $421,000 to 120 Bay Area alternative art endeavors since its inception; it has also served as a model in five other cities around the country, including Kansas City, Chicago, and Houston, and has distributed more than a million dollars in grants to nearly three hundred projects nationwide. I was a recipient of an Alternative Exposure grant in 2008. Last year I was one of three jurors to select grantees. The grant is the only one of its kind in the Bay Area that regularly funds new, experimental models of cultural production, annually distributing record amounts of funding in the midst of local economic changes and dwindling resources for artists. It is difficult to imagine the community without the support this program has provided. And yet, the director of the organization that has pioneered this grant can’t afford to live in the city. “More than 75% of the projects we fund with Alternative Exposure are now East Bay based. Artist run activities can’t thrive in San Francisco anymore. The proof is in the absence of affordable space.”\u003c/p>\n\u003cp>As the repercussions of these changes gain momentum, art and culture are rapidly diminished. Many have shrugged off stories of artist evictions, or gallery closings, or nonprofits going under. “Get over it. Change happens,” is the common refrain of the indifferent. At issue here is more than just change, but rather how change forecasts the future. “The city is now showing the symptoms of edging out culture after so many spaces have closed. How will artists, or students, or philosophers, or anyone who doesn’t participate in the technology economy ever afford to live here?” asks Arcega. “What will San Francisco be like in ten years, if we continue on this trajectory?” At the rate things are going, it isn’t hard to imagine San Francisco without artists or a grass roots art scene, even though it should be unfathomable.\u003c/p>\n\u003cp>All images courtesy of San Francisco-based artist Mitche Manitou, whose series \u003cb>SUBMISSION\u003c/b> was recently featured at alternative space Right Window Gallery in the Mission in February 2014.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Editor’s Note:\u003c/b> The original version of this story reported that the 77 Geary galleries were evicted and was corrected to say that they were priced out; it was also corrected to clarify that The Thing Quarterly relocated after losing their lease.\u003c/p>\n\n",
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"title": "Priced Out: New Tech Wealth and San Francisco's Receding Art Scene | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the last several months, the shifting socio-cultural landscape of the San Francisco Bay Area has become the focus of the international media, primarily in response to the rise of new technology and its aftereffects. \u003ca href=\"http://ww2.kqed.org/news/2014/01/21/yet-another-protest-against-tech-buses/\">Protests over tech commuter buses\u003c/a> as potent symbols of gentrification and displacement, and \u003ca href=\"http://www.dailymail.co.uk/news/article-2567548/Woman-attacked-wearing-Google-Glass-bar.html\">scuffles among strangers in public spaces\u003c/a> over Google Glass and its invasive surveillance technology have become San Francisco icons in the media. Suddenly, all eyes are on San Francisco as the center — or, perhaps, epicenter — of technology’s quaking authority over the 21st-century global community. In this regard, the city of San Francisco (really the greater Bay Area) has become a test case on the impact of rapidly escalating, brand-spanking-new wealth and its relationship to new technologies, privacy, public resources and social infrastructures. San Francisco has become a cautionary tale: Everything happening here can happen wherever else technology companies are setting up shop, which is everywhere. This article is the first in a series that will explore how this shifting terrain is dramatically impacting the livelihood of artists.\u003c/p>\n\u003cp>But, first, why should anyone care that the Bay Area is changing? So what if some tech entrepreneurs are sitting pretty with the 1%? \u003ca href=\"http://www.brookings.edu/research/papers/2014/02/cities-unequal-berube\">Wealth disparity\u003c/a> is nothing new, and cities change all the time: people leave, people arrive, businesses launch, businesses fail. It’s all a cycle. Even this current dot boom is part of a cycle of booms and busts in a community long focused on booming. And yet this time is different, in part because of the devastating impact new wealth is rendering on the fragile infrastructure of San Francisco’s homegrown art scene and its artists, as well as small businesses, nonprofits, advocacy organizations, lower income communities, families with children, immigrants, the mentally ill and homeless, and the generally disenfranchised.\u003c/p>\n\u003cp>Last week, longtime \u003ci>San Francisco Chronicle\u003c/i> art critic Kenneth Baker wrote an \u003ca href=\"http://www.sfgate.com/default/article/Art-galleries-swallowed-up-by-S-F-real-estate-5270305.php\">article about the recent displacement of galleries\u003c/a> due to exponentially inflated rents. He noted, “As far afield as Toronto and London, mid-level art gallery businesses face extinction by fast-growing, cash-rich enterprises hungry for office space in top locations.” Faced with an abrupt change in location, some galleries consider reinvention, while others simply disappear. (See KQED’s \u003ca href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\">article on gallery closures\u003c/a> and the ongoing \u003ca href=\"http://ww2.kqed.org/news/series/priced-out/\">Priced Out\u003c/a> series for more.)\u003c/p>\n\u003cfigure id=\"attachment_10134667\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/02/community.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/02/community.jpeg\" alt=\"From the SUBMISSION series; c. Mitche Manitou, 2014\" width=\"1280\" height=\"960\" class=\"size-full wp-image-10134667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/community.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/community-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/community-300x225.jpeg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/community-1024x768.jpeg 1024w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From the SUBMISSION series; c. Mitche Manitou, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>Recently Rena Bransten, George Krevsky, and Patricia Sweetow Galleries were priced out of their downtown locations at 77 Geary. Still others have closed in the past few years, including Don Soker (evicted and looking for a new space), Eli Ridgway, Guerrero Gallery, Marx & Zavaterro, Michael Rosenthal, Togonon Gallery, Triple Base, and Queens Nails. In Oakland, \u003ca href=\"http://oaklandnorth.net/2012/01/23/end-of-the-mama-buzz-era-new-cafe-telegraph-to-open-soon/\">Mama Buzz closed\u003c/a> in 2012, Swarm Gallery shuttered last year and Hatch Gallery announced its eviction this month. The absence of these physical spaces is a loss in the larger scheme of things, whether the individual galleries were popular or not. Galleries offer culture, community gathering spaces, and space for discourse, while exporting local artists and importing new ideas — all free to the viewer. In a conversation for this article, recent Guggenheim Fellow artist Michael Arcega, formerly represented by Marx & Zavattero, speaks of a familial sense of loss in the wake of the gallery’s closing, “So long as I kept making work that was relevant, they supported me and made an effort to create a support structure for my work. It’s very different now without that.”\u003c/p>\n\u003cp>Recently several prominent galleries have also relocated away from walk-able, BART-adjacent areas of downtown to less accessible reaches of the city in Potrero Hill, including Brian Gross, Catharine Clark, George Lawson, Jack Fisher, and Hosfelt galleries. Adobe Books, and the eponymous Adobe Books Backroom gallery, relocated after an extensive rent hike last year. \u003ci>The Thing Quarterly\u003c/i> owners Jonn Herschend and Will Rogan contemplated going out of business after losing their lease and finding rental prices untenable in the Mission. They ended up finding new offices in the Tenderloin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Several nonprofit organizations have also recently dissolved, including the Museum of Craft & Folk Art, Cell Space, and Visual Aid. Going back only slightly further in cultural memory, one could even consider San Francisco’s New Langton Arts or Oakland’s 21 Grand in this list; though perhaps not direct casualties of the tech boom, their respective closures heralded an indifference to the demise of smaller art organizations that is now commonplace culturally. These shifts in the art scene are exacerbated by the absence of the San Francisco Museum of Modern Art (closed for renovation until 2016), the San Francisco Arts Commission Main Gallery (closed for renovations until 2015), and the pending closure of the Berkeley Art Museum and Pacific Film Archive later this year (for relocation, also to reopen in 2015).\u003c/p>\n\u003cfigure id=\"attachment_10134668\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/02/1submission2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/02/1submission2.jpeg\" alt=\"From the SUBMISSION series; c. Mitche Manitou, 2014\" width=\"1280\" height=\"960\" class=\"size-full wp-image-10134668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/1submission2.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/1submission2-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/1submission2-300x225.jpeg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/1submission2-1024x768.jpeg 1024w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From the SUBMISSION series; c. Mitche Manitou, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>It is an astonishing amount of change in the Bay Area’s compact art scene, especially as these changes also represent a significant number of artists’ exhibitions and public events suspended or cancelled during transitions, while still other artists are without representation altogether.\u003c/p>\n\u003cp>The art community is an ecosystem that survives on the health of the commercial galleries. It is, to be blunt, how many artists make a living and promote their work. If you care about living in a community of art and artists, the health of the whole scene matters. The ripple effect of losing commercial galleries is that nonprofit organizations also receive less support and this then jeopardizes opportunities for artists to make art, eclipsing art at the grassroots level. \u003c/p>\n\u003cp>Notable here is a consideration of the type of organizations that have been compromised — for the most part, these are experimental venues that offer platforms for new and challenging contemporary art by living artists. There has been no surge of new spaces to fill their absences. The most prominent “arts organizations” formed in the wake of tech wealth have been notably privatized and pointedly pitched at the wealthy elite, such as the members-only Battery. Last October, San Francisco-based writer Anisse Grosse \u003ca href=\"http://www.newyorker.com/online/blogs/currency/2013/10/new-private-club-in-san-francisco.html\">wrote in the \u003ci>New Yorker\u003c/i>\u003c/a> that response to the spectacle of the Battery’s opening reflected “the bigger issue at hand: San Francisco itself is turning into a private, exclusive club” and noted the resulting loss of the “city’s celebrated counterculture” as being replaced by condominiums. The avant-garde and the iconoclasts are receding.\u003c/p>\n\u003cfigure id=\"attachment_10134738\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/02/future-condo1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/02/future-condo1.jpeg\" alt=\"From the SUBMISSION series; c. Mitche Manitou, 2014\" width=\"1280\" height=\"960\" class=\"size-full wp-image-10134738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/future-condo1.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/future-condo1-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/02/future-condo1-300x225.jpeg 300w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From the SUBMISSION series; c. Mitche Manitou, 2014\u003c/figcaption>\u003c/figure>\n\u003cp>Courtney Fink, Executive Director of Southern Exposure, recently observed that despite the influx of sudden new wealth, the gap between small and large nonprofits has only widened. “Some key smaller artist-focused organizations are now trying to function on less than $300,000 a year, while SFMOMA undergoes a $555M expansion.” Like many in the art community, Fink recently received an Ellis Act eviction on her rental apartment in San Francisco. Due to real estate escalation, she is anticipating leaving for the East Bay after nearly twenty years in the city.\u003c/p>\n\u003cp>To understand how these shifts have wider implications, consider the ripple effects of Fink’s contributions within and beyond San Francisco to see what is potentially lost when creative people are forced to leave. Alternative Exposure, the regional re-granting program Fink initiated between Southern Exposure and the Andy Warhol Foundation for the Visual Arts, has funded $421,000 to 120 Bay Area alternative art endeavors since its inception; it has also served as a model in five other cities around the country, including Kansas City, Chicago, and Houston, and has distributed more than a million dollars in grants to nearly three hundred projects nationwide. I was a recipient of an Alternative Exposure grant in 2008. Last year I was one of three jurors to select grantees. The grant is the only one of its kind in the Bay Area that regularly funds new, experimental models of cultural production, annually distributing record amounts of funding in the midst of local economic changes and dwindling resources for artists. It is difficult to imagine the community without the support this program has provided. And yet, the director of the organization that has pioneered this grant can’t afford to live in the city. “More than 75% of the projects we fund with Alternative Exposure are now East Bay based. Artist run activities can’t thrive in San Francisco anymore. The proof is in the absence of affordable space.”\u003c/p>\n\u003cp>As the repercussions of these changes gain momentum, art and culture are rapidly diminished. Many have shrugged off stories of artist evictions, or gallery closings, or nonprofits going under. “Get over it. Change happens,” is the common refrain of the indifferent. At issue here is more than just change, but rather how change forecasts the future. “The city is now showing the symptoms of edging out culture after so many spaces have closed. How will artists, or students, or philosophers, or anyone who doesn’t participate in the technology economy ever afford to live here?” asks Arcega. “What will San Francisco be like in ten years, if we continue on this trajectory?” At the rate things are going, it isn’t hard to imagine San Francisco without artists or a grass roots art scene, even though it should be unfathomable.\u003c/p>\n\u003cp>All images courtesy of San Francisco-based artist Mitche Manitou, whose series \u003cb>SUBMISSION\u003c/b> was recently featured at alternative space Right Window Gallery in the Mission in February 2014.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Editor’s Note:\u003c/b> The original version of this story reported that the 77 Geary galleries were evicted and was corrected to say that they were priced out; it was also corrected to clarify that The Thing Quarterly relocated after losing their lease.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dear President Obama: In Defense of the Art Degree ...",
"headTitle": "Dear President Obama: In Defense of the Art Degree … | KQED",
"content": "\u003cp>This week, President Obama gave a \u003ca href=\"http://www.npr.org/2014/01/31/269216917/obama-weve-got-to-move-away-from-train-and-pray\">speech at a General Electric plant\u003c/a> in Waukesha, Wisconsin, as part of a cross-country tour to extol opportunities for all. The President’s talking points included plans to make new jobs, to train Americans to fill those jobs, to guarantee children access to an education, and to make sure “hard work pays off.” In his speech the President reflected on how offshore manufacturing took away a lot of American jobs and noted, “A lot of young people no longer see the trades and skilled manufacturing as a viable career. But I promise you, folks can make a lot more, potentially, with skilled manufacturing or the trades than they might with an art history degree.” This last observation, not surprisingly, has generated a response from arts professionals. (SFMOMA created the \u003ca href=\"https://twitter.com/search?q=%23ArtDegreesWork&src=hash\">Twitter hashtag #ArtDegreesWork\u003c/a> to collect career stories from people with art degrees.) Anticipating a potential outcry from his vast base of art historian supporters, the president went on to say, “Now, nothing wrong with an art history degree — I love art history. So I don’t want to get a bunch of emails from everybody.” Yes, Mr. President, when you rile up art historians, the end result is \u003ci>a lot\u003c/i> of writing.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/SFAIprez\">Charles Desmarais\u003c/a>, president of the San Francisco Art Institute, one of the nation’s oldest art schools, posted: “Blue collar family. Barely literate dad. Yet I’ve had a 30+ year career as museum director and college president.” Museums around the country, including the \u003ca href=\"http://www.walkerart.org/\">Walker Art Center\u003c/a> and the \u003ca href=\"http://www.portlandmuseum.org/\">Portland Museum of Art\u003c/a>, have also sounded off in support of SFMOMA’s Twitter-facilitated dialogue. For its part, SFMOMA \u003ca href=\"http://storify.com/sfmoma/art-degrees-work\">posted a quote from Michelle Obama\u003c/a> noting, “The arts are not just a nice thing to have or do if there is free time or if one can afford it… They define who we are as a people and provide an account of our history for the next generation.”\u003c/p>\n\u003caside class=\"pullquote\">“A lot of young people no longer see the trades and skilled manufacturing as a viable career, but I promise you, folks can make a lot more potentially with skilled manufacturing or the trades than they might with an art history degree,” President Obama said. “Nothing wrong with art history degree,” he added. “I love art history. I don’t want to get a bunch of emails from everybody. I’m just saying, you can make a really good living and have a great career without getting a four-year college education, as long as you get the skills and training that you need.”\u003c/aside>\n\u003cp>I’ve reflected on President Obama’s comments with mixed feelings. On one hand, his point is well taken. At a recent dinner party, I sat between two colleagues who spoke about the difficulties of surviving as adjunct professors in the arts. One spoke of teaching at a prestigious school — we listeners raised our eyebrows appreciatively when he mentioned its name — but then told us there was no money left over after he paid travel expenses. “It looks good on a resume though,” he added. I nodded in agreement, but I also wondered at this curious trend, seemingly singular to the arts, to be perpetually resume-building without increased pay.\u003c/p>\n\u003cp>The woman on my right talked about the feast or famine compulsion to take every teaching opportunity given; as a result, she was gearing up to teach nine classes at three different schools, spread across the biggest traffic commutes in the Bay Area. “It’s alright,” she said patting my arm when I went mute, “I know it’s horrifying.” Paid opportunities are scarce, while unpaid work abounds. Perhaps this is why an art degree has become something of a joke — more often than not, we might as well carry signs that say “Will Work for Work.”\u003c/p>\n\u003cp>On the other hand, I wonder why the “hard work” of the arts sector doesn’t “pay off” in this context? In \u003ca href=\"http://www.americansforthearts.org/by-program/reports-and-data/research-studies-publications/arts-economic-prosperity-iv/national\">a recent study\u003c/a> titled \u003ci>Arts & Economic Prosperity\u003c/i>, Americans for the Arts found that nonprofit arts and culture organizations added $61.1 billion annually to the economy, while functioning as the key promoters of their cities and regions. An additional $74.1 billion was generated by event-related revenue from audiences, including dining, transportation, and even childcare costs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Certainly San Francisco offers an excellent test case here: Mayor Ed Lee \u003ca href=\"http://www.sfmayor.org/index.aspx?page=893&recordid=177&returnURL=/index.aspx?page%3D893\">highlighted the national study’s local findings\u003c/a>. In 2012, the city and county’s nonprofit arts and cultural organizations generated $710 million in economic activity and supported the equivalent of nearly 20,000 full time jobs, while contributing $1.7 billion to the local economy in tourism revenue (\u003ca href=\"http://www.americansforthearts.org/sites/default/files/pdf/information_services/research/services/economic_impact/aepiv/AEP4_SummaryOfLocalFindings.pdf\">download the pdf\u003c/a> for more regional information). Note to the President: Much of this revenue relies on the work of people with art history degrees. Just sayin’.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://www.kqed.org/assets/img/arts/programs/letsgetlost/about-artprograms-plus.jpg\" width=\"462\" height=\"569\" class=\"alignleft\">\u003c/p>\n\u003cp>Perhaps President Obama should consider the broader ways in which past administrations fostered the arts by creating jobs within social infrastructures across a spectrum of disciplines. We have no contemporary equivalent of Roosevelt’s New Deal of the 1930s, which created opportunities for thousands of artists with programs such as the \u003ca href=\"http://getlost.kqed.org/webdeal/article/467\">Public Works of Art Project\u003c/a> and the Works Progress Administration. In this context, the art community was considered a body of workers on par with any other working community. Creative work was not diminished or marginalized — artists, art historians and the like were considered just another part of the work force impacted by the Great Depression.\u003c/p>\n\u003cp>The National Endowment for the Arts, originally founded by President Johnson’s administration in 1965 to bring the arts to all Americans and support leadership in arts education, now functions as a shadow of its former self, in large part due to the controversies generated by political conservatives during the Culture Wars of the late ’80s and early ’90s. The Artist Project of the Comprehensive Employment Training Act (CETA) founded during Jimmy Carter’s administration created opportunities for thousands of artists to teach classes and to make public art and performances, but it too was short lived.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://www.independent.co.uk/incoming/article8307106.ece/ALTERNATES/w620/pollockTateModern.gif\" width=\"620\" height=\"465\" alt=\"Jackson Pollock, Hot Stuff; Source: The Independent\" class>\u003cfigcaption class=\"wp-caption-text\">Jackson Pollock, Hot Stuff; Source: The Independent\u003c/figcaption>\u003c/figure>\n\u003cp>“Government can never take over the role of patronage and support filled by private individuals and groups in our society,” President Kennedy wrote in 1963. “But government surely has a significant part to play in helping establish the conditions under which art can flourish — in encouraging the arts as it encourages science and learning.” The necessity of the federal government’s involvement in supporting the arts as a social imperative has long been clear, but the creation of sustainable models has been a challenge. (Although the CIA was remarkably successful in covertly promoting \u003ca href=\"http://www.independent.co.uk/news/world/modern-art-was-cia-weapon-1578808.html\">Abstract Expressionism as a Cold War initiative\u003c/a>, under the auspices of the Congress for Cultural Freedom in the 1950s. Maybe there is a useful idea in there for the NSA.)\u003c/p>\n\u003cp>Certainly not all of the responsibility here rests with President Obama; Congress has stalled his job initiatives at nearly every turn. Don’t expect any New Deal-type strategies anytime soon. And yet, when considering the larger initiatives created by past administrations, one wonders what Obama’s legacy will be in relation to the arts?\u003c/p>\n\u003cp>One modest initiative shows promise. In 2011, the President’s Committee on the Arts and Humanities announced the \u003ca href=\"http://turnaroundarts.pcah.gov/\">Turnaround Arts Initiative\u003c/a>, an experimental private-nonprofit program designed to narrow achievement gaps through integrated arts education, premised on the “hypothesis” that arts education raises academic achievement. This, of course, is a foregone conclusion to many workers in the arts, but it will hopefully concretize in government terms what many of us know already: Art matters, not just as an educational tool, but as a vital component of a balanced society. While the arts might not be as well paid as some work, the American government certainly has a long history of betting our future on it. One wonders then why the government isn’t also invested in supporting the arts and arts education in more robust ways — but what would I know? I just have an art history degree.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Check out \u003ca href=\"http://storify.com/sfmoma/art-degrees-work\">SFMOMA’s collection of #ArtDegreesWork tweets\u003c/a> at storify.com.\u003c/p>\n\n",
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"excerpt": "In a recent speech President Obama said, \"folks can make a lot more, potentially, with skilled manufacturing or the trades than they might with an art history degree.\" This observation, not surprisingly, has generated a response from arts professionals.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, President Obama gave a \u003ca href=\"http://www.npr.org/2014/01/31/269216917/obama-weve-got-to-move-away-from-train-and-pray\">speech at a General Electric plant\u003c/a> in Waukesha, Wisconsin, as part of a cross-country tour to extol opportunities for all. The President’s talking points included plans to make new jobs, to train Americans to fill those jobs, to guarantee children access to an education, and to make sure “hard work pays off.” In his speech the President reflected on how offshore manufacturing took away a lot of American jobs and noted, “A lot of young people no longer see the trades and skilled manufacturing as a viable career. But I promise you, folks can make a lot more, potentially, with skilled manufacturing or the trades than they might with an art history degree.” This last observation, not surprisingly, has generated a response from arts professionals. (SFMOMA created the \u003ca href=\"https://twitter.com/search?q=%23ArtDegreesWork&src=hash\">Twitter hashtag #ArtDegreesWork\u003c/a> to collect career stories from people with art degrees.) Anticipating a potential outcry from his vast base of art historian supporters, the president went on to say, “Now, nothing wrong with an art history degree — I love art history. So I don’t want to get a bunch of emails from everybody.” Yes, Mr. President, when you rile up art historians, the end result is \u003ci>a lot\u003c/i> of writing.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/SFAIprez\">Charles Desmarais\u003c/a>, president of the San Francisco Art Institute, one of the nation’s oldest art schools, posted: “Blue collar family. Barely literate dad. Yet I’ve had a 30+ year career as museum director and college president.” Museums around the country, including the \u003ca href=\"http://www.walkerart.org/\">Walker Art Center\u003c/a> and the \u003ca href=\"http://www.portlandmuseum.org/\">Portland Museum of Art\u003c/a>, have also sounded off in support of SFMOMA’s Twitter-facilitated dialogue. For its part, SFMOMA \u003ca href=\"http://storify.com/sfmoma/art-degrees-work\">posted a quote from Michelle Obama\u003c/a> noting, “The arts are not just a nice thing to have or do if there is free time or if one can afford it… They define who we are as a people and provide an account of our history for the next generation.”\u003c/p>\n\u003caside class=\"pullquote\">“A lot of young people no longer see the trades and skilled manufacturing as a viable career, but I promise you, folks can make a lot more potentially with skilled manufacturing or the trades than they might with an art history degree,” President Obama said. “Nothing wrong with art history degree,” he added. “I love art history. I don’t want to get a bunch of emails from everybody. I’m just saying, you can make a really good living and have a great career without getting a four-year college education, as long as you get the skills and training that you need.”\u003c/aside>\n\u003cp>I’ve reflected on President Obama’s comments with mixed feelings. On one hand, his point is well taken. At a recent dinner party, I sat between two colleagues who spoke about the difficulties of surviving as adjunct professors in the arts. One spoke of teaching at a prestigious school — we listeners raised our eyebrows appreciatively when he mentioned its name — but then told us there was no money left over after he paid travel expenses. “It looks good on a resume though,” he added. I nodded in agreement, but I also wondered at this curious trend, seemingly singular to the arts, to be perpetually resume-building without increased pay.\u003c/p>\n\u003cp>The woman on my right talked about the feast or famine compulsion to take every teaching opportunity given; as a result, she was gearing up to teach nine classes at three different schools, spread across the biggest traffic commutes in the Bay Area. “It’s alright,” she said patting my arm when I went mute, “I know it’s horrifying.” Paid opportunities are scarce, while unpaid work abounds. Perhaps this is why an art degree has become something of a joke — more often than not, we might as well carry signs that say “Will Work for Work.”\u003c/p>\n\u003cp>On the other hand, I wonder why the “hard work” of the arts sector doesn’t “pay off” in this context? In \u003ca href=\"http://www.americansforthearts.org/by-program/reports-and-data/research-studies-publications/arts-economic-prosperity-iv/national\">a recent study\u003c/a> titled \u003ci>Arts & Economic Prosperity\u003c/i>, Americans for the Arts found that nonprofit arts and culture organizations added $61.1 billion annually to the economy, while functioning as the key promoters of their cities and regions. An additional $74.1 billion was generated by event-related revenue from audiences, including dining, transportation, and even childcare costs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Certainly San Francisco offers an excellent test case here: Mayor Ed Lee \u003ca href=\"http://www.sfmayor.org/index.aspx?page=893&recordid=177&returnURL=/index.aspx?page%3D893\">highlighted the national study’s local findings\u003c/a>. In 2012, the city and county’s nonprofit arts and cultural organizations generated $710 million in economic activity and supported the equivalent of nearly 20,000 full time jobs, while contributing $1.7 billion to the local economy in tourism revenue (\u003ca href=\"http://www.americansforthearts.org/sites/default/files/pdf/information_services/research/services/economic_impact/aepiv/AEP4_SummaryOfLocalFindings.pdf\">download the pdf\u003c/a> for more regional information). Note to the President: Much of this revenue relies on the work of people with art history degrees. Just sayin’.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://www.kqed.org/assets/img/arts/programs/letsgetlost/about-artprograms-plus.jpg\" width=\"462\" height=\"569\" class=\"alignleft\">\u003c/p>\n\u003cp>Perhaps President Obama should consider the broader ways in which past administrations fostered the arts by creating jobs within social infrastructures across a spectrum of disciplines. We have no contemporary equivalent of Roosevelt’s New Deal of the 1930s, which created opportunities for thousands of artists with programs such as the \u003ca href=\"http://getlost.kqed.org/webdeal/article/467\">Public Works of Art Project\u003c/a> and the Works Progress Administration. In this context, the art community was considered a body of workers on par with any other working community. Creative work was not diminished or marginalized — artists, art historians and the like were considered just another part of the work force impacted by the Great Depression.\u003c/p>\n\u003cp>The National Endowment for the Arts, originally founded by President Johnson’s administration in 1965 to bring the arts to all Americans and support leadership in arts education, now functions as a shadow of its former self, in large part due to the controversies generated by political conservatives during the Culture Wars of the late ’80s and early ’90s. The Artist Project of the Comprehensive Employment Training Act (CETA) founded during Jimmy Carter’s administration created opportunities for thousands of artists to teach classes and to make public art and performances, but it too was short lived.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://www.independent.co.uk/incoming/article8307106.ece/ALTERNATES/w620/pollockTateModern.gif\" width=\"620\" height=\"465\" alt=\"Jackson Pollock, Hot Stuff; Source: The Independent\" class>\u003cfigcaption class=\"wp-caption-text\">Jackson Pollock, Hot Stuff; Source: The Independent\u003c/figcaption>\u003c/figure>\n\u003cp>“Government can never take over the role of patronage and support filled by private individuals and groups in our society,” President Kennedy wrote in 1963. “But government surely has a significant part to play in helping establish the conditions under which art can flourish — in encouraging the arts as it encourages science and learning.” The necessity of the federal government’s involvement in supporting the arts as a social imperative has long been clear, but the creation of sustainable models has been a challenge. (Although the CIA was remarkably successful in covertly promoting \u003ca href=\"http://www.independent.co.uk/news/world/modern-art-was-cia-weapon-1578808.html\">Abstract Expressionism as a Cold War initiative\u003c/a>, under the auspices of the Congress for Cultural Freedom in the 1950s. Maybe there is a useful idea in there for the NSA.)\u003c/p>\n\u003cp>Certainly not all of the responsibility here rests with President Obama; Congress has stalled his job initiatives at nearly every turn. Don’t expect any New Deal-type strategies anytime soon. And yet, when considering the larger initiatives created by past administrations, one wonders what Obama’s legacy will be in relation to the arts?\u003c/p>\n\u003cp>One modest initiative shows promise. In 2011, the President’s Committee on the Arts and Humanities announced the \u003ca href=\"http://turnaroundarts.pcah.gov/\">Turnaround Arts Initiative\u003c/a>, an experimental private-nonprofit program designed to narrow achievement gaps through integrated arts education, premised on the “hypothesis” that arts education raises academic achievement. This, of course, is a foregone conclusion to many workers in the arts, but it will hopefully concretize in government terms what many of us know already: Art matters, not just as an educational tool, but as a vital component of a balanced society. While the arts might not be as well paid as some work, the American government certainly has a long history of betting our future on it. One wonders then why the government isn’t also invested in supporting the arts and arts education in more robust ways — but what would I know? I just have an art history degree.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Check out \u003ca href=\"http://storify.com/sfmoma/art-degrees-work\">SFMOMA’s collection of #ArtDegreesWork tweets\u003c/a> at storify.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Philip Seymour Hoffman, Oscar-Winner, Found Dead At 46",
"headTitle": "Philip Seymour Hoffman, Oscar-Winner, Found Dead At 46 | KQED",
"content": "\u003cp>Actor Philip Seymour Hoffman, who won a best actor Oscar for the title role in the 2005 film \u003ci>Capote\u003c/i>, was reportedly dead in his Manhattan apartment at the age of 46.\u003c/p>\n\u003cp>Multiple media outlets have reported, quoting unnamed law enforcement officials, say \u003ca href=\"http://www.nytimes.com/2014/02/03/movies/philip-seymour-hoffman-actor-dies-at-46.html?hp\">the suspected cause of death is a drug overdose\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://online.wsj.com/news/articles/SB10001424052702304626804579358943360702878?mod=WSJ_hp_LEFTTopStories%20\">\u003ci>The Wall Street Journal\u003c/i> reports\u003c/a> that the New York Police Department and the Office of the Chief Medical Examiner are investigating to determine a cause of death. The newspaper quotes a police official as saying the actor was found dead at his apartment in the West Village neighborhood of Manhattan.\u003c/p>\n\u003cp>Hoffman’s first role was as a defendant in a 1991 episode of \u003ci>Law & Order\u003c/i>, he went on to appear in films \u003ci>Twister\u003c/i> (1996), \u003ci>Boogie Nights\u003c/i> (1997) and \u003ci>The Big Lebowski\u003c/i> (1998). He was nominated for a best supporting actor Oscar for the 2007 film \u003ci>Charlie Wilson’s War\u003c/i> and was in the process of filming a sequel to \u003ci>The Hunger Games\u003c/i>.\u003c/p>\n\u003cp>In a 2012 interview with \u003ca href=\"http://www.npr.org/2012/04/12/150305122/philip-seymour-hoffman-broadways-new-salesman\">NPR’s \u003ci>Morning Edition\u003c/i>\u003c/a>, Hoffman, who was then appearing on Broadway in the lead role of Willy Loman in Arthur Miller’s \u003ci>Death of a Salesman\u003c/i>, said it is a play that provokes thinking on all aspects of life, including family.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It really seeps into why we’re here,” Hoffman told host Steve Inskeep. “What are we doing, family, work, friends, hopes, dreams, careers, what’s happiness, what’s success, what does it mean, is it important, how do you get it?”\u003c/p>\n\u003cp>In 2009, he told \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=100888309\">\u003ci>Fresh Air\u003c/i>\u003c/a> that acting is a bit like athletics.\u003c/p>\n\u003cp>“What it takes to be a great athlete is the same thing that it takes to be a great actor,” says Hoffman. “… that kind of concentration, that kind of privacy in public and that kind of unselfconscious kind of experience are very similar.”\u003c/p>\n\u003cp>\u003ca href=\"http://international.nytimes.com/\">\u003ci>The New York Times\u003c/i>\u003c/a> says:\u003c/p>\n\u003cp style=\"margin-left: 20px\">“Hoffman continued to solidify his status as one of his generation’s finest actors in 2008 with two very different roles. By choosing to play the lead in Charlie Kaufmann’s directorial debut \u003ci>Synecdoche, New York\u003c/i>, Hoffman again displayed his fearlessness, as well as his desire to work with the very best writers and directors he can find. That willfully difficult film never connected with mainstream audiences, but that was not true at all for Hoffman’s other picture of 2008, \u003ci>Doubt\u003c/i>. John Patrick Shanley’s cinematic adaptation of his own award-winning play earned acting nominations for Hoffman and his three costars (Meryl Streep, Amy Adams, and Viola Davis) from both the Screen Actors Guild, and the Academy.”\u003c/p>\n\u003cp style=\"margin-left: 20px\">“Over the following years, Hoffman would continue to appear in a variety of interesting films, like \u003ci>Pirate Radio\u003c/i>, \u003ci>The Ides of March\u003c/i>, and \u003ci>Moneyball\u003c/i>. In 2012 he again collaborated with Paul Thomas Anderson, playing a cult leader in the drama \u003ci>The Master\u003c/i> opposite Joaquin Phoenix. For his work in that movie, Hoffman got a Best Supporting Actor nomination from both the Screen Actors Guild and the Academy of Motion Picture Arts and Sciences.”\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2014/film/news/wsj-report-philip-seymour-hoffman-found-dead-in-new-york-1201082934/\">\u003ci>Variety\u003c/i>\u003c/a> notes that last year Hoffman “completed a 10-day substance abuse program for heroin. The actor later revealed that he had been addicted to the drug when he was younger but had been clean for over 20 years.”\u003c/p>\n\u003cp>\u003ci>The Times\u003c/i> says Hoffman has spoken in interviews about “falling off the wagon” last year after staying clean for 23 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/02/02/270599816/philip-seymour-hoffman-oscar-winner-found-dead-at-46\">NPR\u003c/a>\u003c/p>\n\n",
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"excerpt": "Citing law enforcement officials, multiple news outlets report that Hoffman was found dead in his New York apartment Sunday. The acclaimed actor won an Oscar for the title role in the 2005 film \u003ci>Capote\u003c/i>.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Philip Seymour Hoffman, who won a best actor Oscar for the title role in the 2005 film \u003ci>Capote\u003c/i>, was reportedly dead in his Manhattan apartment at the age of 46.\u003c/p>\n\u003cp>Multiple media outlets have reported, quoting unnamed law enforcement officials, say \u003ca href=\"http://www.nytimes.com/2014/02/03/movies/philip-seymour-hoffman-actor-dies-at-46.html?hp\">the suspected cause of death is a drug overdose\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://online.wsj.com/news/articles/SB10001424052702304626804579358943360702878?mod=WSJ_hp_LEFTTopStories%20\">\u003ci>The Wall Street Journal\u003c/i> reports\u003c/a> that the New York Police Department and the Office of the Chief Medical Examiner are investigating to determine a cause of death. The newspaper quotes a police official as saying the actor was found dead at his apartment in the West Village neighborhood of Manhattan.\u003c/p>\n\u003cp>Hoffman’s first role was as a defendant in a 1991 episode of \u003ci>Law & Order\u003c/i>, he went on to appear in films \u003ci>Twister\u003c/i> (1996), \u003ci>Boogie Nights\u003c/i> (1997) and \u003ci>The Big Lebowski\u003c/i> (1998). He was nominated for a best supporting actor Oscar for the 2007 film \u003ci>Charlie Wilson’s War\u003c/i> and was in the process of filming a sequel to \u003ci>The Hunger Games\u003c/i>.\u003c/p>\n\u003cp>In a 2012 interview with \u003ca href=\"http://www.npr.org/2012/04/12/150305122/philip-seymour-hoffman-broadways-new-salesman\">NPR’s \u003ci>Morning Edition\u003c/i>\u003c/a>, Hoffman, who was then appearing on Broadway in the lead role of Willy Loman in Arthur Miller’s \u003ci>Death of a Salesman\u003c/i>, said it is a play that provokes thinking on all aspects of life, including family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It really seeps into why we’re here,” Hoffman told host Steve Inskeep. “What are we doing, family, work, friends, hopes, dreams, careers, what’s happiness, what’s success, what does it mean, is it important, how do you get it?”\u003c/p>\n\u003cp>In 2009, he told \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=100888309\">\u003ci>Fresh Air\u003c/i>\u003c/a> that acting is a bit like athletics.\u003c/p>\n\u003cp>“What it takes to be a great athlete is the same thing that it takes to be a great actor,” says Hoffman. “… that kind of concentration, that kind of privacy in public and that kind of unselfconscious kind of experience are very similar.”\u003c/p>\n\u003cp>\u003ca href=\"http://international.nytimes.com/\">\u003ci>The New York Times\u003c/i>\u003c/a> says:\u003c/p>\n\u003cp style=\"margin-left: 20px\">“Hoffman continued to solidify his status as one of his generation’s finest actors in 2008 with two very different roles. By choosing to play the lead in Charlie Kaufmann’s directorial debut \u003ci>Synecdoche, New York\u003c/i>, Hoffman again displayed his fearlessness, as well as his desire to work with the very best writers and directors he can find. That willfully difficult film never connected with mainstream audiences, but that was not true at all for Hoffman’s other picture of 2008, \u003ci>Doubt\u003c/i>. John Patrick Shanley’s cinematic adaptation of his own award-winning play earned acting nominations for Hoffman and his three costars (Meryl Streep, Amy Adams, and Viola Davis) from both the Screen Actors Guild, and the Academy.”\u003c/p>\n\u003cp style=\"margin-left: 20px\">“Over the following years, Hoffman would continue to appear in a variety of interesting films, like \u003ci>Pirate Radio\u003c/i>, \u003ci>The Ides of March\u003c/i>, and \u003ci>Moneyball\u003c/i>. In 2012 he again collaborated with Paul Thomas Anderson, playing a cult leader in the drama \u003ci>The Master\u003c/i> opposite Joaquin Phoenix. For his work in that movie, Hoffman got a Best Supporting Actor nomination from both the Screen Actors Guild and the Academy of Motion Picture Arts and Sciences.”\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2014/film/news/wsj-report-philip-seymour-hoffman-found-dead-in-new-york-1201082934/\">\u003ci>Variety\u003c/i>\u003c/a> notes that last year Hoffman “completed a 10-day substance abuse program for heroin. The actor later revealed that he had been addicted to the drug when he was younger but had been clean for over 20 years.”\u003c/p>\n\u003cp>\u003ci>The Times\u003c/i> says Hoffman has spoken in interviews about “falling off the wagon” last year after staying clean for 23 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/02/02/270599816/philip-seymour-hoffman-oscar-winner-found-dead-at-46\">NPR\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Folk Activist Pete Seeger, Icon Of Passion And Ideals, Dies At 94",
"headTitle": "Folk Activist Pete Seeger, Icon Of Passion And Ideals, Dies At 94 | KQED",
"content": "\u003cp>A tireless campaigner for his own vision of a utopia marked by peace and togetherness, ‘s tools were his songs, his voice, his enthusiasm and his musical instruments. A major advocate for the folk-style five-string banjo and one of the most prominent folk music icons of his generation, Seeger was also a political and environmental activist. He died Monday at age 94. His grandson, Kitama Cahill Jackson, confirmed Seegers death and said he died of natural causes.\u003c/p>\n\u003cp>Pete Seeger came by his beliefs honestly. His father, Charles Seeger, was an ethnomusicologist and a pioneering folkorist whose left-wing views got him into trouble at the University of California, Berkeley. Charles Seeger introduced his son to some of the most important musicians of the Depression era — including and Leadbelly and Woody Guthrie.\u003c/p>\n\u003cp>Seeger and Guthrie eventually became fast friends — though they didn’t agree on all things — and crisscrossed the country performing together. Seeger said that as early as 1941, they found themselves blacklisted as communists. Seeger actually was a member of the Communist Party in those early days, though he later said he quit after coming to understand the evils of Josef Stalin.\u003c/p>\n\u003cp>Following World War II and service entertaining the troops, Seeger teamed up with Lee Hays, Ronnie Gilbert and Fred Hellerman to form the astonishingly successful folk group . Ronnie Gilbert said that from the start, Seeger’s performances were transcendent — whether you were on stage with him or in the audience.\u003c/p>\n\u003cp>“You got the sense that he was saying and singing way beyond the moment that he was in, the place that he was in. Alone on a stage in front of thousands of people … everybody got it, everybody got his passion for music, his passion for being on the stage, making people sing, having people listen to each other’s music. He was a passionate person, and that was what people saw. People absorbed his passion and his ideals,” Gilbert says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Weavers’ version of Leadbelly’s “Goodnight Irene” hit the top of the pop charts in 1950. Other hits followed, including “On Top of Old Smokey,” “So Long (It’s Been Good to Know You)” and “Wimoweh.”\u003c/p>\n\u003cp>If The Weavers hit an emotional and cultural sweet spot in postwar America, the Red Scare quickly soured it. Seeger refused to answer questions before Congress in 1955 about his political beliefs and associations. He was held in contempt and nearly served a jail sentence before charges were finally dropped in 1962 on a technicality.\u003c/p>\n\u003cp>But his troubles with Congress finished The Weavers as a major touring and recording group, so Seeger went out on his own again. Shut out of the big gigs, he played coffeehouses, union halls and college campuses to support his family. His wife, Toshi, managed his affairs and raised their children in the cabin they had built in Beacon, N.Y.\u003c/p>\n\u003cp>He co-founded and wrote for \u003ci>Sing Out\u003c/i>, one of the first and most important magazines to grow out of the folk revival. He produced children’s songs and books. But his commitment to political and social causes never waned. Seeger sang and marched nationwide for civil rights and against the Vietnam War. As he told NPR in 1971, “Sometimes I think [about] that old saying,’The pen is mightier than the sword.’ Well, my one hope is the guitar is gonna be mightier than the bomb.”\u003c/p>\n\u003cp>In 1968 he went local, but, of course, in a big way. Upset at the filth clogging the Hudson River near his home, he spearheaded the building of the Sloop Clearwater, which volunteers sailed up and down the Hudson. Politicians and polluters had to take notice. Seeger, not surprisingly, saw a larger purpose: “Bringing these people together, all these people, is the essential thing, and this is what the Clearwater almost miraculously has started to do on the Hudson,” he said.\u003c/p>\n\u003cp>For all of his social activism, Seeger said more than once that if he had done nothing more than write his slim book How to Play the 5-String Banjo, his life’s work would have been complete. Seeger’s grandson Tao Rodriguez Seeger plays banjo and performed with his grandfather. He says the paperback, which is chock-full of chords and techniques, is a challenge.\u003c/p>\n\u003cp>“It’s not a thick book but it’s thick stuff. He doesn’t really explain it too well. It’s sort of quick, it’s got a little diagram, ‘Here’s how you do it.’ But it’s great. It’s an awesome resource. I have a copy,” Rodriguez Seeger says.\u003c/p>\n\u003cp>Not just through his books but also through his sheer force of presence, Seeger became a model for younger folk musicians. Singer and songwriter Tom Paxton said he learned invaluable lessons from Seeger about how to reach an audience. “Look ’em in the eye. Make a gesture of inclusion, which he did all the time. And above all, have a chorus,” Paxton says. “So I learned from Pete to have something for them to sing.”\u003c/p>\n\u003cp>Bringing people together and getting them to sing out may be one of Pete Seeger’s greatest legacies. But when it came to saving the world, Tao Rodriguez Seeger says, his grandfather ultimately seemed to question whether the guitar was mightier than the sword.\u003c/p>\n\u003cp>“[It] troubled him, troubled him deeply that technology was so advanced but our emotional state was so inadequate to cope, that with a push of a button, in a fit of rage, we could wipe ourselves off the face of the Earth. And he really wanted to fix that and always felt like he failed,” Rodriguez Seeger says.\u003c/p>\n\u003cp>But if Pete Seeger didn’t save the world, he certainly did change the lives of millions of people by leading them to sing, to take action and to at least consider his dream of what society could be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/blogs/therecord/2014/01/28/267488551/american-folk-singer-pete-seeger-dies-at-94\">NPR\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A tireless campaigner for his own vision of a utopia marked by peace and togetherness, ‘s tools were his songs, his voice, his enthusiasm and his musical instruments. A major advocate for the folk-style five-string banjo and one of the most prominent folk music icons of his generation, Seeger was also a political and environmental activist. He died Monday at age 94. His grandson, Kitama Cahill Jackson, confirmed Seegers death and said he died of natural causes.\u003c/p>\n\u003cp>Pete Seeger came by his beliefs honestly. His father, Charles Seeger, was an ethnomusicologist and a pioneering folkorist whose left-wing views got him into trouble at the University of California, Berkeley. Charles Seeger introduced his son to some of the most important musicians of the Depression era — including and Leadbelly and Woody Guthrie.\u003c/p>\n\u003cp>Seeger and Guthrie eventually became fast friends — though they didn’t agree on all things — and crisscrossed the country performing together. Seeger said that as early as 1941, they found themselves blacklisted as communists. Seeger actually was a member of the Communist Party in those early days, though he later said he quit after coming to understand the evils of Josef Stalin.\u003c/p>\n\u003cp>Following World War II and service entertaining the troops, Seeger teamed up with Lee Hays, Ronnie Gilbert and Fred Hellerman to form the astonishingly successful folk group . Ronnie Gilbert said that from the start, Seeger’s performances were transcendent — whether you were on stage with him or in the audience.\u003c/p>\n\u003cp>“You got the sense that he was saying and singing way beyond the moment that he was in, the place that he was in. Alone on a stage in front of thousands of people … everybody got it, everybody got his passion for music, his passion for being on the stage, making people sing, having people listen to each other’s music. He was a passionate person, and that was what people saw. People absorbed his passion and his ideals,” Gilbert says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Weavers’ version of Leadbelly’s “Goodnight Irene” hit the top of the pop charts in 1950. Other hits followed, including “On Top of Old Smokey,” “So Long (It’s Been Good to Know You)” and “Wimoweh.”\u003c/p>\n\u003cp>If The Weavers hit an emotional and cultural sweet spot in postwar America, the Red Scare quickly soured it. Seeger refused to answer questions before Congress in 1955 about his political beliefs and associations. He was held in contempt and nearly served a jail sentence before charges were finally dropped in 1962 on a technicality.\u003c/p>\n\u003cp>But his troubles with Congress finished The Weavers as a major touring and recording group, so Seeger went out on his own again. Shut out of the big gigs, he played coffeehouses, union halls and college campuses to support his family. His wife, Toshi, managed his affairs and raised their children in the cabin they had built in Beacon, N.Y.\u003c/p>\n\u003cp>He co-founded and wrote for \u003ci>Sing Out\u003c/i>, one of the first and most important magazines to grow out of the folk revival. He produced children’s songs and books. But his commitment to political and social causes never waned. Seeger sang and marched nationwide for civil rights and against the Vietnam War. As he told NPR in 1971, “Sometimes I think [about] that old saying,’The pen is mightier than the sword.’ Well, my one hope is the guitar is gonna be mightier than the bomb.”\u003c/p>\n\u003cp>In 1968 he went local, but, of course, in a big way. Upset at the filth clogging the Hudson River near his home, he spearheaded the building of the Sloop Clearwater, which volunteers sailed up and down the Hudson. Politicians and polluters had to take notice. Seeger, not surprisingly, saw a larger purpose: “Bringing these people together, all these people, is the essential thing, and this is what the Clearwater almost miraculously has started to do on the Hudson,” he said.\u003c/p>\n\u003cp>For all of his social activism, Seeger said more than once that if he had done nothing more than write his slim book How to Play the 5-String Banjo, his life’s work would have been complete. Seeger’s grandson Tao Rodriguez Seeger plays banjo and performed with his grandfather. He says the paperback, which is chock-full of chords and techniques, is a challenge.\u003c/p>\n\u003cp>“It’s not a thick book but it’s thick stuff. He doesn’t really explain it too well. It’s sort of quick, it’s got a little diagram, ‘Here’s how you do it.’ But it’s great. It’s an awesome resource. I have a copy,” Rodriguez Seeger says.\u003c/p>\n\u003cp>Not just through his books but also through his sheer force of presence, Seeger became a model for younger folk musicians. Singer and songwriter Tom Paxton said he learned invaluable lessons from Seeger about how to reach an audience. “Look ’em in the eye. Make a gesture of inclusion, which he did all the time. And above all, have a chorus,” Paxton says. “So I learned from Pete to have something for them to sing.”\u003c/p>\n\u003cp>Bringing people together and getting them to sing out may be one of Pete Seeger’s greatest legacies. But when it came to saving the world, Tao Rodriguez Seeger says, his grandfather ultimately seemed to question whether the guitar was mightier than the sword.\u003c/p>\n\u003cp>“[It] troubled him, troubled him deeply that technology was so advanced but our emotional state was so inadequate to cope, that with a push of a button, in a fit of rage, we could wipe ourselves off the face of the Earth. And he really wanted to fix that and always felt like he failed,” Rodriguez Seeger says.\u003c/p>\n\u003cp>But if Pete Seeger didn’t save the world, he certainly did change the lives of millions of people by leading them to sing, to take action and to at least consider his dream of what society could be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/blogs/therecord/2014/01/28/267488551/american-folk-singer-pete-seeger-dies-at-94\">NPR\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Epic Fail: Levi's 'Station to Station' Derails in Oakland",
"headTitle": "Epic Fail: Levi’s ‘Station to Station’ Derails in Oakland | KQED",
"content": "\u003cp>Earlier this month a so-called public art extravaganza featuring a changing cast of “artists, musicians and creative pioneers” made its way across the country by rail. \u003cb>Station to Station\u003c/b>, as it was called, was a project by multi-media artist Doug Aitken and made possible by Levi’s, whose corporate sponsorship has quietly supported an astonishing number of recent public art projects. The list of “participants” in \u003cb>Station to Station\u003c/b> was an impressive array of creative personalities — too many to list here — including Patti Smith, Ernesto Neto, James Turrell, Alice Waters, Theaster Gates, Olafur Eliasson, and Nam June Paik, among many others. The train started in New York with stops in Pittsburgh, Chicago, Minneapolis/St. Paul, Kansas City, Santa Fe, Winslow, Barstow, and Los Angeles, before it came to a stop in Oakland last Saturday, September 28, 2013. While the marketing folks (\u003ca href=\"http://www.nytimes.com/2013/09/28/arts/design/station-to-station-avant-garde-art-show-nears-end-of-tour.html\">as quoted in the \u003ci>New York Times\u003c/i>\u003c/a>) at Levi’s might consider this experiment a success based on the envy of other brands, this singular criterion means nothing in contemporary art or to the people who actually care about it. Herewith are some of the things I hated most about \u003cb>Station to Station\u003c/b>, culled from a long list.\u003c/p>\n\u003cp>The train itself was to be a moving kinetic light sculpture, additionally the “programming” was designed to bring together widely known creative figures with local legends from each municipality drawing from art, music, food, literature and film. Oakland was promised performances by Dan Deacon, Lia Ices, No Age, Savages and several other musicians, along with art by Kenneth Anger, Urs Fischer, Liz Glynn, Evan Holm, Carsten Höller and Ernesto Neto — all staged in and around Oakland’s historic landmark train station designed circa 1912 in the Beaux Arts style by renowned architect Jarvis Hunt. “Moving images” by Yayoi Kusama, Raymond Pettibon, and Ryan Trecartin, among others, were to be featured along with “printed matter” by a host of incredible artists, including Karen Kiliminik, Catherine Opie and Ed Ruscha. In the weeks leading up to the event, all of the venues nation-wide were listed as “sold out” online; tickets were around $30 a pop.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" class=\"alignright\" style=\"margin-bottom: 10px\" alt=\"\" src=\"http://a.s.kqed.net/img/arts/blog/station6.jpg\">\u003c/p>\n\u003cp>Upon arrival, it was painstakingly obvious that Levi’s scouted a site and then showed up en masse to claim their stake without much, if any, consideration for the people who actually live in West Oakland. One woman leaned out her second-story window at Bea’s Hotel across from the station and heckled people as they arrived. “Hey, white boy with the sweater on your back! You look like a f–king [car horn]!” The hostility was palpable as revelers arrived in droves, many looking like hipster jackasses toting Kombucha and coconut water, after having clogged the narrow streets with their cars.\u003c/p>\n\u003cp>A long line of largely privileged white people stretched for blocks beyond the entrance, snaking past bewildered neighbors on the sidewalk. If that wasn’t embarrassing enough, there were tour buses of folks (collectors? museum trustees? looky-loos?) being shuttled in on enormous buses for Levi’s uniquely appalling brand of “slum tourism.” Watching people arrive, I was reminded of how the art fairs rumble into the most disadvantaged areas of Miami every December to roll out red carpets for a few days before leaving the roads more worn than before and huge piles of post-commerce garbage in their wake.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Station to Station\u003c/b>, in Oakland at least, appeared guilty of the same party foul and the lack of transparency around Levi’s motives somehow makes them more vile than the art fairs. The art fairs are candid in what they want to do: they are there to sell. But what is Levi’s investment in the arts about exactly? Why the sudden interest in public art and entertainment? The answers became clearer as the night wore on, but the initial scene in Oakland was a snapshot of everything that is wrong in the Bay Area right now: big money comes in and, for entertainment, co-opts the creative class while it displaces longstanding communities.\u003c/p>\n\u003cp>After walking several blocks past the event to get in line, only to then shuffle back over the same broken ground to make my way to the entrance, I was shunted through security. A smiling young man affixed a sticker to my lapel and hastily greeted me. “Here is tonight’s hashtag!,” he announced cheerily, before making me into a walking, talking advertisement for Levi’s social media feed. It was creepy and I stuck my sticker on his denim-clad back as I walked away. (Before getting her sticker, professional photographer Deborah Svoboda, on site to take images for KQED Arts with thousands of dollars worth of professional equipment, was joyously told “You look like an Instagrammer!”)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" style=\"margin-bottom: 10px\" alt=\"\" src=\"http://a.s.kqed.net/img/arts/blog/station5.jpg\">\u003c/p>\n\u003cp>Just beyond the entrance, a sign was posted high in the air, deliberately situated to avoid catching anyone’s attention. It read: “CROWD NOTICE RELEASE. PLEASE BE AWARE THAT, BY ENTERING THIS AREA, YOU CONSENT TO YOUR VOICE AND LIKENESS BEING USED WITHOUT COMPENSATION IN FILMS AND TAPES FOR EXPLOITATION IN ANY AND ALL MEDIA, WHETHER NOW KNOWN OR HEREAFTER DEVISED, AND YOU RELEASE STATION TO STATION LLC, AND ITS SUCCESSORS, ASSIGNS, AND LICENSEES FROM ANY LIABILITY ON ACCOUNT OF SUCH USAGE. IF YOU DO NOT WISH TO BE SUBJECT TO THE FOREGOING, DO NOT ENTER THIS AREA.” This sign solidified my dawning realization of Levi’s motivations with the project, which had nothing to do with aligning with the avant-garde or supporting art. It was a way to create marketing materials in perpetuity. The event, from station to station, as it were, was designed to capture as much documentation of the creative class at play as possible and to use it in “lifestyle” campaigns to promote Levi’s. Whether or not participants were wearing the brand mattered little because so many people wear denim by default and it all looks the same at a distance, doesn’t it? So, having paid for the privilege of being exploited, I was ready to leave, but stayed with the hope that the art would somehow make it worthwhile.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-128542 alignright\" alt=\"station2\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station2.jpg\" width=\"500\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station2-300x200.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>Many who attended were excited to see Oakland’s historic train depot in person. For a lot of people this condemned historic landmark is compelling for its architectural beauty, its lost history, and its more radical iteration now as a magnet for graffiti. But it was shockingly unconsidered as a site for contemporary art. There were no site-specific works that engaged the building or drew on its history. The main station hall was employed as a big viewing area to watch barely audible Doug Aitken’s interviews with “participating” artists. This offered another egregious revelation: much of the roster of “participatants,” so compelling on the website, was essentially a playlist of prerecorded video interviews. Promising, or alluding to promising, the involvement of amazing artists and then offering up videos that just as easily could be watched online was a lame bait and switch.\u003c/p>\n\u003cp>A poster-cum-artwork wheat pasted onto the entrance of the historic station read “You are on Indian land. Show some respect.” The sheer irony that the organizers might have placed this work there while overtly disregarding the history of the site itself and the surrounding community was mindboggling. So too was this example of how politically potent work could be co-opted by commerce for the sake of making a “cool” statement. It was the most provocative work of the evening, though I was never sure if it was part of the show or there prior.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-128541 alignleft\" alt=\"station1\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station1.jpg\" width=\"500\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station1-300x200.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>Somehow I thought we would see real large-scale commissions in the station, on par with Aitken’s architectural video installations or a giant Ernesto Neto taking over the whole space. It was a waste of such rarified space. All I could think of when I saw the station’s interior were the many artists who could have done so much more with the building. When I expressed my disgust over this lack of thought about the site, a colleague said, “Well, the projects have to be simple so that they can be shown from one stop to the next.” But that isn’t an organizational principle of public art — one size fits everywhere — and there was nothing that said that it had to be considered that way at all. The millions spent on this giant ad campaign could have enabled some artists to make real work and the whole endeavor might have retained some integrity. To add further insult to injury, the \u003ca href=\"http://www.nytimes.com/2013/09/28/arts/design/station-to-station-avant-garde-art-show-nears-end-of-tour.html\">\u003ci>New York Times\u003c/i> reported that none of the participating artists were paid\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128543 alignright\" alt=\"station3\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station3.jpg\" width=\"500\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station3-300x200.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>All night I heard people asking, “Where is the art?” What little art on display was presented in a cluster of four pop-up yurts that looked as time-worn as circus tents. I stood in line for forty minutes to see Urs Fischer’s all-white installation, now dingy from travel, featuring a white carpet, a white bed, mirrored walls, a disco ball and a fog machine. The line of people on the other side of the door made it feel tawdry and awkward. There was also an unlabeled photo exhibit of five or six mysterious images in a breezeway next the station’s main room, but their textural quality was no match for the patina of the walls on which they hung. They looked small and insignificant, as did all of the art, what little there was, on display.\u003c/p>\n\u003cp>There was no didactic information to speak of: no signs denoting the names of artists or artworks, or a schedule of screenings or performances. Lines for everything from the installations to the scant two food trucks were dismally long. I constantly overheard people saying “What are we in line for?”\u003c/p>\n\u003cp>The “print media” alluded to in the press materials essentially amounted to a pop-up bookstore selling monographs by each of the “participants” — and not actually distributing artist-designed posters or postcards as one might have hoped. What kind of billing is this? A list of artists whose books are for sale is not a list of “participants;” it is a list of merchandise. This slippery use of language denotes a lot of time spent thinking about how to excite people without delivering anything of substance. The constant hype to sell to the viewer while exploiting the viewer was so transparent as to be cliché. I saw boxes of event posters behind a desk, but they weren’t out for the taking. By the time I saw them, I would rather have been handed a rattle snake.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station7.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128544 alignleft\" alt=\"station7\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station7.jpg\" width=\"500\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station7.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station7-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station7-300x200.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>Most galling, there was no sign of the Doug Aitkin train that had been touted in the marketing materials as a public art video installation in motion. The train promised a huge spectacle — and we came for spectacle. It’s a historic station and this whole epic derail is called “Station to Station,” for crying out loud. And yet still, the train was nowhere near the historic station on the night of the event. It was parked at Amtrak across town.\u003c/p>\n\u003cp>After informally polling Facebook friends across the country about other stops, I have yet to encounter anyone who actually saw the train as it was portrayed in the hyped-up marketing, and the consensus has been that the public events were underwhelming all along the way. It should have been infuriating that there was no train, but people were too dazed to reconcile what they thought they were getting with what they got.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128545 alignright\" alt=\"station4\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station4.jpg\" width=\"500\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station4.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station4-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station4-300x200.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>I could go on, but I won’t, about the “makers” who were corralled in an open air sweatshop, I mean tent, toiling over handmade wares beneath naked light bulbs swinging overhead, or about the strangeness of Levi’s vague branding of the event as a fundraiser for SFMOMA (the event was in Oakland — so why not benefit an Oakland arts organization?) or the strange videos on the music stage that altered between “road trip” scenery and what looked like Christian Marclay footage, blurring the line between ads and actual art — or what looked like art because someone ripped off an artist to make animated backdrops. The music performances might have been redemptive — I heard from many that they were “OK” — but having come with the expectation of seeing great work, I barely noticed the music, which was clearly planned to be more ambient than a real concert. Any louder and it would have interfered with capturing audio for the marketing materials of the future.\u003c/p>\n\u003cp>As there are no laws about truth in advertising — wait, are there? — everyone in attendance will be complicit in the perceived “success” of this dud. \u003cb>Station to Station\u003c/b> promised great artists and great art — a train tricked out with video screens dashing across the country — and instead we got some third rate Burning Man rip-off abbreviated rock show with smoke and mirrors, no art, no train, and everything but our DNA stripped at the door. Based on Levi’s self-satisfaction, more brands will follow suit in making contemporary art into a carnival road show; that train has apparently already left the station. Welcome to the modern frontier — privacy is a thing of the past, corporations control culture, and there is no art to be seen.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All photos by Deborah Svoboda.\u003c/p>\n\n",
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"excerpt": "The nation-wide marketing campaign that featured a who's who of contemporary art superstar \"participants\" went off the tracks last Saturday, crashing into West Oakland and leaving its stranded passengers wondering, \"where's the art?\"",
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"description": "The nation-wide marketing campaign that featured a who's who of contemporary art superstar "participants" went off the tracks last Saturday, crashing into West Oakland and leaving its stranded passengers wondering, "where's the art?"",
"title": "Epic Fail: Levi's 'Station to Station' Derails in Oakland | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this month a so-called public art extravaganza featuring a changing cast of “artists, musicians and creative pioneers” made its way across the country by rail. \u003cb>Station to Station\u003c/b>, as it was called, was a project by multi-media artist Doug Aitken and made possible by Levi’s, whose corporate sponsorship has quietly supported an astonishing number of recent public art projects. The list of “participants” in \u003cb>Station to Station\u003c/b> was an impressive array of creative personalities — too many to list here — including Patti Smith, Ernesto Neto, James Turrell, Alice Waters, Theaster Gates, Olafur Eliasson, and Nam June Paik, among many others. The train started in New York with stops in Pittsburgh, Chicago, Minneapolis/St. Paul, Kansas City, Santa Fe, Winslow, Barstow, and Los Angeles, before it came to a stop in Oakland last Saturday, September 28, 2013. While the marketing folks (\u003ca href=\"http://www.nytimes.com/2013/09/28/arts/design/station-to-station-avant-garde-art-show-nears-end-of-tour.html\">as quoted in the \u003ci>New York Times\u003c/i>\u003c/a>) at Levi’s might consider this experiment a success based on the envy of other brands, this singular criterion means nothing in contemporary art or to the people who actually care about it. Herewith are some of the things I hated most about \u003cb>Station to Station\u003c/b>, culled from a long list.\u003c/p>\n\u003cp>The train itself was to be a moving kinetic light sculpture, additionally the “programming” was designed to bring together widely known creative figures with local legends from each municipality drawing from art, music, food, literature and film. Oakland was promised performances by Dan Deacon, Lia Ices, No Age, Savages and several other musicians, along with art by Kenneth Anger, Urs Fischer, Liz Glynn, Evan Holm, Carsten Höller and Ernesto Neto — all staged in and around Oakland’s historic landmark train station designed circa 1912 in the Beaux Arts style by renowned architect Jarvis Hunt. “Moving images” by Yayoi Kusama, Raymond Pettibon, and Ryan Trecartin, among others, were to be featured along with “printed matter” by a host of incredible artists, including Karen Kiliminik, Catherine Opie and Ed Ruscha. In the weeks leading up to the event, all of the venues nation-wide were listed as “sold out” online; tickets were around $30 a pop.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" class=\"alignright\" style=\"margin-bottom: 10px\" alt=\"\" src=\"http://a.s.kqed.net/img/arts/blog/station6.jpg\">\u003c/p>\n\u003cp>Upon arrival, it was painstakingly obvious that Levi’s scouted a site and then showed up en masse to claim their stake without much, if any, consideration for the people who actually live in West Oakland. One woman leaned out her second-story window at Bea’s Hotel across from the station and heckled people as they arrived. “Hey, white boy with the sweater on your back! You look like a f–king [car horn]!” The hostility was palpable as revelers arrived in droves, many looking like hipster jackasses toting Kombucha and coconut water, after having clogged the narrow streets with their cars.\u003c/p>\n\u003cp>A long line of largely privileged white people stretched for blocks beyond the entrance, snaking past bewildered neighbors on the sidewalk. If that wasn’t embarrassing enough, there were tour buses of folks (collectors? museum trustees? looky-loos?) being shuttled in on enormous buses for Levi’s uniquely appalling brand of “slum tourism.” Watching people arrive, I was reminded of how the art fairs rumble into the most disadvantaged areas of Miami every December to roll out red carpets for a few days before leaving the roads more worn than before and huge piles of post-commerce garbage in their wake.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Station to Station\u003c/b>, in Oakland at least, appeared guilty of the same party foul and the lack of transparency around Levi’s motives somehow makes them more vile than the art fairs. The art fairs are candid in what they want to do: they are there to sell. But what is Levi’s investment in the arts about exactly? Why the sudden interest in public art and entertainment? The answers became clearer as the night wore on, but the initial scene in Oakland was a snapshot of everything that is wrong in the Bay Area right now: big money comes in and, for entertainment, co-opts the creative class while it displaces longstanding communities.\u003c/p>\n\u003cp>After walking several blocks past the event to get in line, only to then shuffle back over the same broken ground to make my way to the entrance, I was shunted through security. A smiling young man affixed a sticker to my lapel and hastily greeted me. “Here is tonight’s hashtag!,” he announced cheerily, before making me into a walking, talking advertisement for Levi’s social media feed. It was creepy and I stuck my sticker on his denim-clad back as I walked away. (Before getting her sticker, professional photographer Deborah Svoboda, on site to take images for KQED Arts with thousands of dollars worth of professional equipment, was joyously told “You look like an Instagrammer!”)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" class=\"alignleft\" style=\"margin-bottom: 10px\" alt=\"\" src=\"http://a.s.kqed.net/img/arts/blog/station5.jpg\">\u003c/p>\n\u003cp>Just beyond the entrance, a sign was posted high in the air, deliberately situated to avoid catching anyone’s attention. It read: “CROWD NOTICE RELEASE. PLEASE BE AWARE THAT, BY ENTERING THIS AREA, YOU CONSENT TO YOUR VOICE AND LIKENESS BEING USED WITHOUT COMPENSATION IN FILMS AND TAPES FOR EXPLOITATION IN ANY AND ALL MEDIA, WHETHER NOW KNOWN OR HEREAFTER DEVISED, AND YOU RELEASE STATION TO STATION LLC, AND ITS SUCCESSORS, ASSIGNS, AND LICENSEES FROM ANY LIABILITY ON ACCOUNT OF SUCH USAGE. IF YOU DO NOT WISH TO BE SUBJECT TO THE FOREGOING, DO NOT ENTER THIS AREA.” This sign solidified my dawning realization of Levi’s motivations with the project, which had nothing to do with aligning with the avant-garde or supporting art. It was a way to create marketing materials in perpetuity. The event, from station to station, as it were, was designed to capture as much documentation of the creative class at play as possible and to use it in “lifestyle” campaigns to promote Levi’s. Whether or not participants were wearing the brand mattered little because so many people wear denim by default and it all looks the same at a distance, doesn’t it? So, having paid for the privilege of being exploited, I was ready to leave, but stayed with the hope that the art would somehow make it worthwhile.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-128542 alignright\" alt=\"station2\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station2.jpg\" width=\"500\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station2-300x200.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>Many who attended were excited to see Oakland’s historic train depot in person. For a lot of people this condemned historic landmark is compelling for its architectural beauty, its lost history, and its more radical iteration now as a magnet for graffiti. But it was shockingly unconsidered as a site for contemporary art. There were no site-specific works that engaged the building or drew on its history. The main station hall was employed as a big viewing area to watch barely audible Doug Aitken’s interviews with “participating” artists. This offered another egregious revelation: much of the roster of “participatants,” so compelling on the website, was essentially a playlist of prerecorded video interviews. Promising, or alluding to promising, the involvement of amazing artists and then offering up videos that just as easily could be watched online was a lame bait and switch.\u003c/p>\n\u003cp>A poster-cum-artwork wheat pasted onto the entrance of the historic station read “You are on Indian land. Show some respect.” The sheer irony that the organizers might have placed this work there while overtly disregarding the history of the site itself and the surrounding community was mindboggling. So too was this example of how politically potent work could be co-opted by commerce for the sake of making a “cool” statement. It was the most provocative work of the evening, though I was never sure if it was part of the show or there prior.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-128541 alignleft\" alt=\"station1\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station1.jpg\" width=\"500\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station1-300x200.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>Somehow I thought we would see real large-scale commissions in the station, on par with Aitken’s architectural video installations or a giant Ernesto Neto taking over the whole space. It was a waste of such rarified space. All I could think of when I saw the station’s interior were the many artists who could have done so much more with the building. When I expressed my disgust over this lack of thought about the site, a colleague said, “Well, the projects have to be simple so that they can be shown from one stop to the next.” But that isn’t an organizational principle of public art — one size fits everywhere — and there was nothing that said that it had to be considered that way at all. The millions spent on this giant ad campaign could have enabled some artists to make real work and the whole endeavor might have retained some integrity. To add further insult to injury, the \u003ca href=\"http://www.nytimes.com/2013/09/28/arts/design/station-to-station-avant-garde-art-show-nears-end-of-tour.html\">\u003ci>New York Times\u003c/i> reported that none of the participating artists were paid\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128543 alignright\" alt=\"station3\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station3.jpg\" width=\"500\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station3-300x200.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>All night I heard people asking, “Where is the art?” What little art on display was presented in a cluster of four pop-up yurts that looked as time-worn as circus tents. I stood in line for forty minutes to see Urs Fischer’s all-white installation, now dingy from travel, featuring a white carpet, a white bed, mirrored walls, a disco ball and a fog machine. The line of people on the other side of the door made it feel tawdry and awkward. There was also an unlabeled photo exhibit of five or six mysterious images in a breezeway next the station’s main room, but their textural quality was no match for the patina of the walls on which they hung. They looked small and insignificant, as did all of the art, what little there was, on display.\u003c/p>\n\u003cp>There was no didactic information to speak of: no signs denoting the names of artists or artworks, or a schedule of screenings or performances. Lines for everything from the installations to the scant two food trucks were dismally long. I constantly overheard people saying “What are we in line for?”\u003c/p>\n\u003cp>The “print media” alluded to in the press materials essentially amounted to a pop-up bookstore selling monographs by each of the “participants” — and not actually distributing artist-designed posters or postcards as one might have hoped. What kind of billing is this? A list of artists whose books are for sale is not a list of “participants;” it is a list of merchandise. This slippery use of language denotes a lot of time spent thinking about how to excite people without delivering anything of substance. The constant hype to sell to the viewer while exploiting the viewer was so transparent as to be cliché. I saw boxes of event posters behind a desk, but they weren’t out for the taking. By the time I saw them, I would rather have been handed a rattle snake.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station7.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128544 alignleft\" alt=\"station7\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station7.jpg\" width=\"500\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station7.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station7-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station7-300x200.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>Most galling, there was no sign of the Doug Aitkin train that had been touted in the marketing materials as a public art video installation in motion. The train promised a huge spectacle — and we came for spectacle. It’s a historic station and this whole epic derail is called “Station to Station,” for crying out loud. And yet still, the train was nowhere near the historic station on the night of the event. It was parked at Amtrak across town.\u003c/p>\n\u003cp>After informally polling Facebook friends across the country about other stops, I have yet to encounter anyone who actually saw the train as it was portrayed in the hyped-up marketing, and the consensus has been that the public events were underwhelming all along the way. It should have been infuriating that there was no train, but people were too dazed to reconcile what they thought they were getting with what they got.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-128545 alignright\" alt=\"station4\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/03/station4.jpg\" width=\"500\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station4.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station4-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/03/station4-300x200.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>I could go on, but I won’t, about the “makers” who were corralled in an open air sweatshop, I mean tent, toiling over handmade wares beneath naked light bulbs swinging overhead, or about the strangeness of Levi’s vague branding of the event as a fundraiser for SFMOMA (the event was in Oakland — so why not benefit an Oakland arts organization?) or the strange videos on the music stage that altered between “road trip” scenery and what looked like Christian Marclay footage, blurring the line between ads and actual art — or what looked like art because someone ripped off an artist to make animated backdrops. The music performances might have been redemptive — I heard from many that they were “OK” — but having come with the expectation of seeing great work, I barely noticed the music, which was clearly planned to be more ambient than a real concert. Any louder and it would have interfered with capturing audio for the marketing materials of the future.\u003c/p>\n\u003cp>As there are no laws about truth in advertising — wait, are there? — everyone in attendance will be complicit in the perceived “success” of this dud. \u003cb>Station to Station\u003c/b> promised great artists and great art — a train tricked out with video screens dashing across the country — and instead we got some third rate Burning Man rip-off abbreviated rock show with smoke and mirrors, no art, no train, and everything but our DNA stripped at the door. Based on Levi’s self-satisfaction, more brands will follow suit in making contemporary art into a carnival road show; that train has apparently already left the station. Welcome to the modern frontier — privacy is a thing of the past, corporations control culture, and there is no art to be seen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"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.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
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