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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>The California Report’s Grace Rubenstein reveals how a new San Francisco company is helping creative people turn art lovers’ affection into cash.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/07/2014-07-11d-tcrmag.mp3\u003c/p>\n\u003c/aside>\n\u003cp>Artists who publish their work on the Internet might hit it big and find millions of fans. But in a world where online content has become virtually free, fame doesn’t necessarily come with fortune anymore.\u003c/p>\n\u003cp>Now, one San Francisco company — \u003ca href=\"http://www.patreon.com/\" target=\"_blank\" rel=\"noopener\">Patreon\u003c/a> — is making it easier for fans to financially support working artists.\u003c/p>\n\u003cp>Musician and music video producer Jack Conte founded Patreon last year with his friend Sam Yam, a former roommate at Stanford University.\u003c/p>\n\u003cp>“I had been working on this music video for three months straight,” Conte recalls. “I drained my savings account, it was like 10 grand, and I just watched that slowly whittle away.”\u003c/p>\n\u003cp>Back then, Conte had around 100,000 subscribers on his YouTube channel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I knew I was going to post this video, and I knew it was going to generate a hundred to 200 dollars of ad revenue for me,” he says. “And I knew at the same time that my fans were going to really like it. And I thought that was worth more than $100.”\u003c/p>\n\u003cfigure id=\"attachment_10138984\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138984\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon3.jpg\" alt=\"Patreon's engineering and product departments have taken over the living room of the company cofounders' Noe Valley apartment\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Patreon’s engineering and product departments have taken over the living room of the company cofounders’ Noe Valley apartment \u003ccite>(Grace Rubenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So Conte and Yam hatched a website plan. Fans on Patreon could enter their credit card numbers and pledge a few bucks every time Conte published a new video. Unlike Kickstarter, where people chip in for a one-time project, this would be ongoing support for continued work. It’s essentially patronage, only crowdfunded.\u003c/p>\n\u003cp>Yam designed and coded the site, which launched in May 2013. “Within a few hours I passed over $1,000 per video that I uploaded,” Conte says. “So I was making over 10 times what I was making on YouTube. In like 4 hours!”\u003c/p>\n\u003cp>Soon creators and patrons were flocking to the site. Now, he says, Patreon plays host to 85,000 paying patrons and more than 25,000 creators ranging from musicians to web comic illustrators to short story writers. The company takes a 5 percent cut. And it just got $15 million dollars in venture capital.\u003c/p>\n\u003cp>Conte thinks all the enthusiasm reflects a problem that the Internet sort of created, by driving down the value of creative content. “Media these days is free,” he says. “That’s not an opinion at this point. It’s a fact.”\u003c/p>\n\u003cp>Yet he feels really strongly that creative people deserve fair pay. “We need to look at other income streams for people, and I think patronage is where it’s going,” he says.\u003c/p>\n\u003cp>The content that’s funded through Patreon is free for the world to see. But creators give their patrons little perks, like live chats or behind-the-scenes photos. Some of them are making serious money. Conte’s band, Pomplamoose, gets more than $5,000 dollars per video.\u003c/p>\n\u003cp>Still, most creators have more modest audiences and incomes.\u003c/p>\n\u003cfigure id=\"attachment_10138983\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138983\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon2.jpg\" alt=\"Kiki Sanford records her "This Week in Science" podcast from her basement in San Francisco's Bernal Heights neighborhood, and funds it via Patreon.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2-300x225.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kiki Sanford records her “This Week in Science” podcast from her basement in San Francisco’s Bernal Heights neighborhood, and funds it via Patreon. \u003ccite>(Grace Rubenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kiki Sanford is a neurophysiology PhD who publishes her “This Week in Science” podcast out of her basement in San Francisco. Sanford has been broadcasting for more than a decade, and she’s built an audience of around 10,000. She joined Patreon four months ago.\u003c/p>\n\u003cp>“We went from covering our basic costs with $200 to $300 in Paypal donations per month, to now almost bringing in $2,000 a month with Patreon,” she says.\u003c/p>\n\u003cp>Now she’s hoping to realize some long-held dreams, like creating daily content. That is, if the support holds up.\u003c/p>\n\u003cp>“It’s humbling and amazing to me,” Sanford says. “But at the same time I go, can I count on this? Is this something that people are going to really keep doing?”\u003c/p>\n\u003cp>John Maeda says Sanford’s right to be cautious. He’s the former president of the Rhode Island School of Design and now the design partner at Kleiner Perkins Caufield & Byers venture capital in Silicon Valley.\u003c/p>\n\u003cp>“We believe that there’s infinite money in the crowd. You know, ‘crowdsource’ this, ‘crowdfund’ this,” he says. “The crowd gets tired, the crowd gets poorer.”\u003c/p>\n\u003cp>So while Maeda likes the idea of crowdfunding the arts, he says it’s too soon to say if Patreon’s model will have staying power.\u003c/p>\n\u003cp>Patreon does have limitations. First off, it won’t necessarily get you fans if you don’t already have them. And there’s no guarantee of artistic quality, since the site is open to everyone. But that’s the way Conte likes it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Our mission is to fund the creative class,” he says. “If Lady Gaga wanted to use the platform, fine. But that’s not who we’re building products for.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>The California Report’s Grace Rubenstein reveals how a new San Francisco company is helping creative people turn art lovers’ affection into cash.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/07/2014-07-11d-tcrmag.mp3\u003c/p>\n\u003c/aside>\n\u003cp>Artists who publish their work on the Internet might hit it big and find millions of fans. But in a world where online content has become virtually free, fame doesn’t necessarily come with fortune anymore.\u003c/p>\n\u003cp>Now, one San Francisco company — \u003ca href=\"http://www.patreon.com/\" target=\"_blank\" rel=\"noopener\">Patreon\u003c/a> — is making it easier for fans to financially support working artists.\u003c/p>\n\u003cp>Musician and music video producer Jack Conte founded Patreon last year with his friend Sam Yam, a former roommate at Stanford University.\u003c/p>\n\u003cp>“I had been working on this music video for three months straight,” Conte recalls. “I drained my savings account, it was like 10 grand, and I just watched that slowly whittle away.”\u003c/p>\n\u003cp>Back then, Conte had around 100,000 subscribers on his YouTube channel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I knew I was going to post this video, and I knew it was going to generate a hundred to 200 dollars of ad revenue for me,” he says. “And I knew at the same time that my fans were going to really like it. And I thought that was worth more than $100.”\u003c/p>\n\u003cfigure id=\"attachment_10138984\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138984\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon3.jpg\" alt=\"Patreon's engineering and product departments have taken over the living room of the company cofounders' Noe Valley apartment\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon3-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Patreon’s engineering and product departments have taken over the living room of the company cofounders’ Noe Valley apartment \u003ccite>(Grace Rubenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So Conte and Yam hatched a website plan. Fans on Patreon could enter their credit card numbers and pledge a few bucks every time Conte published a new video. Unlike Kickstarter, where people chip in for a one-time project, this would be ongoing support for continued work. It’s essentially patronage, only crowdfunded.\u003c/p>\n\u003cp>Yam designed and coded the site, which launched in May 2013. “Within a few hours I passed over $1,000 per video that I uploaded,” Conte says. “So I was making over 10 times what I was making on YouTube. In like 4 hours!”\u003c/p>\n\u003cp>Soon creators and patrons were flocking to the site. Now, he says, Patreon plays host to 85,000 paying patrons and more than 25,000 creators ranging from musicians to web comic illustrators to short story writers. The company takes a 5 percent cut. And it just got $15 million dollars in venture capital.\u003c/p>\n\u003cp>Conte thinks all the enthusiasm reflects a problem that the Internet sort of created, by driving down the value of creative content. “Media these days is free,” he says. “That’s not an opinion at this point. It’s a fact.”\u003c/p>\n\u003cp>Yet he feels really strongly that creative people deserve fair pay. “We need to look at other income streams for people, and I think patronage is where it’s going,” he says.\u003c/p>\n\u003cp>The content that’s funded through Patreon is free for the world to see. But creators give their patrons little perks, like live chats or behind-the-scenes photos. Some of them are making serious money. Conte’s band, Pomplamoose, gets more than $5,000 dollars per video.\u003c/p>\n\u003cp>Still, most creators have more modest audiences and incomes.\u003c/p>\n\u003cfigure id=\"attachment_10138983\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138983\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Patreon2.jpg\" alt=\"Kiki Sanford records her "This Week in Science" podcast from her basement in San Francisco's Bernal Heights neighborhood, and funds it via Patreon.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Patreon2-300x225.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kiki Sanford records her “This Week in Science” podcast from her basement in San Francisco’s Bernal Heights neighborhood, and funds it via Patreon. \u003ccite>(Grace Rubenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kiki Sanford is a neurophysiology PhD who publishes her “This Week in Science” podcast out of her basement in San Francisco. Sanford has been broadcasting for more than a decade, and she’s built an audience of around 10,000. She joined Patreon four months ago.\u003c/p>\n\u003cp>“We went from covering our basic costs with $200 to $300 in Paypal donations per month, to now almost bringing in $2,000 a month with Patreon,” she says.\u003c/p>\n\u003cp>Now she’s hoping to realize some long-held dreams, like creating daily content. That is, if the support holds up.\u003c/p>\n\u003cp>“It’s humbling and amazing to me,” Sanford says. “But at the same time I go, can I count on this? Is this something that people are going to really keep doing?”\u003c/p>\n\u003cp>John Maeda says Sanford’s right to be cautious. He’s the former president of the Rhode Island School of Design and now the design partner at Kleiner Perkins Caufield & Byers venture capital in Silicon Valley.\u003c/p>\n\u003cp>“We believe that there’s infinite money in the crowd. 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"title": "Remembering Jazz Legend Charlie Haden, who Crafted his Voice in Bass",
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"content": "\u003cp>\u003cem>Jazz legend Charlie Haden has died. Polio damaged Haden’s voice when he was young, but as a bassist and composer, Haden helped shape the sound of jazz and still spanned country and gospel. For more on Haden’s life and music, you can hear Melissa Block speak with \u003c/em>Slate\u003cem> columnist and jazz critic Fred Kaplan at the audio link on this page.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Bassist and composer Charlie Haden, whose resonant playing and penetrating melodic craft influenced generations of jazz musicians, died this morning in Los Angeles, after a prolonged illness. He was 76.\u003c/p>\n\u003cp>Haden’s death was announced by his record label, ECM Records.\u003c/p>\n\u003cblockquote>\n\u003cp>It is with deep sorrow that we announce that Charlie Haden, born August 6, 1937 in Shenandoah, Iowa, passed away today at 10:11 Pacific time in Los Angeles after a prolonged illness. Ruth Cameron, his wife of 30 years, and his children Josh Haden, Tanya Haden, Rachel Haden and Petra Haden were all by his side.\u003c/p>\n\u003c/blockquote>\n\u003cp>Born and raised in the rural Midwestern United States, Haden grew up in a family which hosted a country and western music radio program. He sang on air in the family band from before the age of 2. At age 15, he contracted polio, damaging his vocal cords, and turned instead to learning bass.\u003c/p>\n\u003cp>In 1957, Haden moved to Los Angeles, where he integrated quickly into the West Coast jazz community — including saxophonist and composer Ornette Coleman. Their collaboration over decades, on stage and on record, not only anchored Coleman’s innovations in harmony and melody, but also generated new possibilities for his own instrument in group improvisation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His work with Ornette Coleman made him an icon of avant-garde jazz, but in a career that spanned over 50 years, Haden worked in many and varied contexts. His Liberation Music Orchestra large ensemble, a collaboration with composer-arranger Carla Bley, performed and recorded political protest songs for over 30 years. His Quartet West ensemble, featuring pianist Alan Broadbent and saxophonist Ernie Watts, provided avenues for more traditional hard bop and backing vocalists. And in 2008, he revisited his country roots with an album called \u003cem>Rambling Boy\u003c/em>, gathering his wife, son and triplet daughters in a new family band.\u003c/p>\n\u003cp>In 2012, he spoke of the connections between the music he grew up with and the music he was known for. “When you think about the art form jazz coming from this country and you think about the Underground Railroad and all the music that came from that struggle, and then you think about all the music coming over from Scotland and Ireland and England into the Appalachian Mountains and the Ozark Mountains where I was born and raised, you know, it’s all one really,” he told NPR’s Rachel Martin. “We can only have been born here in this country.”\u003c/p>\n\u003cp>As a sideman, Haden was the bassist for many of pianist Keith Jarrett’s bands of the 1960s and ’70s. The group Old and New Dreams reunited Ornette Coleman’s sidemen, sometimes to reinterpret Coleman’s compositions. He frequently performed in duet settings, which brought him into close contact with fellow jazz greats like Hank Jones, Alice Coltrane and Pat Metheny. And in 1982, he introduced jazz studies to CalArts, now one of the premier programs of its kind.\u003c/p>\n\u003cp>In interviews and on stage, he spoke often about the artist’s duty to introduce beauty into a conflicted world. “That’s what I tell my students at California Institute of the Arts where I teach for 27 years,” he said to Martin. “I tell them if you strive to be a good person, maybe you might become a great jazz musician.”\u003c/p>\n\u003cp>Earlier this year, Charlie Haden released his latest album, a collection of duets with pianist Keith Jarrett. It ends with the two standards “Every Time We Say Goodbye” and “Goodbye,” and is titled \u003cem>Last Dance.\u003c/em> \u003c/p>\n\u003cp>\u003cem>Below is a clip of Haden playing in the Ginger Baker Trio with guitarist Bill Frisell.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XEpMLiqzZd8\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Jazz+Legend+Charlie+Haden%2C+Who+Crafted+His+Voice+In+Bass&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Jazz legend Charlie Haden has died. Polio damaged Haden’s voice when he was young, but as a bassist and composer, Haden helped shape the sound of jazz and still spanned country and gospel. For more on Haden’s life and music, you can hear Melissa Block speak with \u003c/em>Slate\u003cem> columnist and jazz critic Fred Kaplan at the audio link on this page.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Bassist and composer Charlie Haden, whose resonant playing and penetrating melodic craft influenced generations of jazz musicians, died this morning in Los Angeles, after a prolonged illness. He was 76.\u003c/p>\n\u003cp>Haden’s death was announced by his record label, ECM Records.\u003c/p>\n\u003cblockquote>\n\u003cp>It is with deep sorrow that we announce that Charlie Haden, born August 6, 1937 in Shenandoah, Iowa, passed away today at 10:11 Pacific time in Los Angeles after a prolonged illness. Ruth Cameron, his wife of 30 years, and his children Josh Haden, Tanya Haden, Rachel Haden and Petra Haden were all by his side.\u003c/p>\n\u003c/blockquote>\n\u003cp>Born and raised in the rural Midwestern United States, Haden grew up in a family which hosted a country and western music radio program. He sang on air in the family band from before the age of 2. At age 15, he contracted polio, damaging his vocal cords, and turned instead to learning bass.\u003c/p>\n\u003cp>In 1957, Haden moved to Los Angeles, where he integrated quickly into the West Coast jazz community — including saxophonist and composer Ornette Coleman. Their collaboration over decades, on stage and on record, not only anchored Coleman’s innovations in harmony and melody, but also generated new possibilities for his own instrument in group improvisation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His work with Ornette Coleman made him an icon of avant-garde jazz, but in a career that spanned over 50 years, Haden worked in many and varied contexts. His Liberation Music Orchestra large ensemble, a collaboration with composer-arranger Carla Bley, performed and recorded political protest songs for over 30 years. His Quartet West ensemble, featuring pianist Alan Broadbent and saxophonist Ernie Watts, provided avenues for more traditional hard bop and backing vocalists. And in 2008, he revisited his country roots with an album called \u003cem>Rambling Boy\u003c/em>, gathering his wife, son and triplet daughters in a new family band.\u003c/p>\n\u003cp>In 2012, he spoke of the connections between the music he grew up with and the music he was known for. “When you think about the art form jazz coming from this country and you think about the Underground Railroad and all the music that came from that struggle, and then you think about all the music coming over from Scotland and Ireland and England into the Appalachian Mountains and the Ozark Mountains where I was born and raised, you know, it’s all one really,” he told NPR’s Rachel Martin. “We can only have been born here in this country.”\u003c/p>\n\u003cp>As a sideman, Haden was the bassist for many of pianist Keith Jarrett’s bands of the 1960s and ’70s. The group Old and New Dreams reunited Ornette Coleman’s sidemen, sometimes to reinterpret Coleman’s compositions. He frequently performed in duet settings, which brought him into close contact with fellow jazz greats like Hank Jones, Alice Coltrane and Pat Metheny. And in 1982, he introduced jazz studies to CalArts, now one of the premier programs of its kind.\u003c/p>\n\u003cp>In interviews and on stage, he spoke often about the artist’s duty to introduce beauty into a conflicted world. “That’s what I tell my students at California Institute of the Arts where I teach for 27 years,” he said to Martin. “I tell them if you strive to be a good person, maybe you might become a great jazz musician.”\u003c/p>\n\u003cp>Earlier this year, Charlie Haden released his latest album, a collection of duets with pianist Keith Jarrett. It ends with the two standards “Every Time We Say Goodbye” and “Goodbye,” and is titled \u003cem>Last Dance.\u003c/em> \u003c/p>\n\u003cp>\u003cem>Below is a clip of Haden playing in the Ginger Baker Trio with guitarist Bill Frisell.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XEpMLiqzZd8'\n title='//www.youtube.com/embed/XEpMLiqzZd8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Jazz+Legend+Charlie+Haden%2C+Who+Crafted+His+Voice+In+Bass&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>By Austin Meyer\u003c/strong>\u003cbr>\u003ca target=\"_self\" href=\"http://peninsulapress.com/2014/07/10/san-francisco-gentrification/\" rel=\"noopener\">\u003cstrong>Peninsula Press\u003c/strong>\u003c/a>\u003c/p>\n\u003cdiv>\n\u003cp>San Francisco resident Benito Santiago, 63, is one of an increasing number of San Francisco seniors who are facing rising rents and eviction. (Austin Meyer/Peninsula Press)\u003c/p>\n\u003c/div>\n\u003cp>San Francisco resident Benito Santiago, 63, lived in his \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/san-francisco-mission-district-artists-evicted-from-longtime-home\" rel=\"noopener\">Mission District\u003c/a> apartment 37 years before getting his <a target=_self \u003ca href=\"http://ww2.kqed.org/news/2014/07/11/priced-out-artist-turned-housing-activist-describes-his-ellis-act-eviction\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/07/11/priced-out-artist-turned-housing-activist-describes-his-ellis-act-eviction\" target=\"_self\" title=\"Priced Out: S.F. Artist Turned Housing Activist Describes His Ellis Act Eviction\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Austin Meyer\u003c/strong>\u003cbr>\u003ca target=\"_self\" href=\"http://peninsulapress.com/2014/07/10/san-francisco-gentrification/\" rel=\"noopener\">\u003cstrong>Peninsula Press\u003c/strong>\u003c/a>\u003c/p>\n\u003cdiv>\n\u003cp>San Francisco resident Benito Santiago, 63, is one of an increasing number of San Francisco seniors who are facing rising rents and eviction. (Austin Meyer/Peninsula Press)\u003c/p>\n\u003c/div>\n\u003cp>San Francisco resident Benito Santiago, 63, lived in his \u003ca target=\"_self\" href=\"http://ww2.kqed.org/news/san-francisco-mission-district-artists-evicted-from-longtime-home\" rel=\"noopener\">Mission District\u003c/a> apartment 37 years before getting his <a target=_self \u003ca href=\"http://ww2.kqed.org/news/2014/07/11/priced-out-artist-turned-housing-activist-describes-his-ellis-act-eviction\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/07/11/priced-out-artist-turned-housing-activist-describes-his-ellis-act-eviction\" target=\"_self\" title=\"Priced Out: S.F. Artist Turned Housing Activist Describes His Ellis Act Eviction\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Columbusing': The Art of Discovering Something that is Not New",
"headTitle": "‘Columbusing’: The Art of Discovering Something that is Not New | KQED",
"content": "\u003cp>If you’ve danced to an Afrobeat-heavy pop song, dipped hummus, sipped coconut water, participated in a Desi-inspired \u003ca href=\"http://www.browngirlmagazine.com/2013/04/color-run-controversy\" target=\"_blank\" rel=\"noopener\">color run\u003c/a> or sported a henna tattoo, then you’ve Columbused something.\u003c/p>\n\u003cp>\u003ca href=\"http://www.collegehumor.com/video/6976820/columbusing-discovering-things-for-white-pe\" target=\"_blank\" rel=\"noopener\">Columbusing\u003c/a> is when you “discover” something that’s existed forever. Just that it’s existed outside your own culture, nationality, race or even, say, your neighborhood. Bonus points if you tell all your friends about it.\u003c/p>\n\u003cp>Why not? In our immigrant-rich cities, the whole world is at our doorsteps.\u003c/p>\n\u003cp>Sometimes, though, Columbusing can feel icky. When is cultural appropriation a healthy byproduct of globalization and when is it a problem?\u003c/p>\n\u003cp>\u003cstrong>All The Rage\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Buzzfeed Food published an article asking, “Have you heard about \u003ca href=\"http://www.buzzfeed.com/rachelysanders/hand-pies-are-the-best-and-cutest-pies\" target=\"_blank\" rel=\"noopener\">the new kind of pie\u003c/a> that’s \u003cem>all the rage\u003c/em> lately?” It’s a hand pie, a little foldover pie that you can fit in your hand. They have flaky crusts and can be sweet or savory. You know, exactly like an empanada, a Latin American culinary staple.\u003c/p>\n\u003cp>On face value, it seems stupid to get worked up over an empanada. I mean, it’s just a pastry, right? But “discovering” empanadas on Pinterest and calling them “hand pies” strips empanadas of their cultural context. To all the people who grew up eating empanadas, it can feel like theft.\u003c/p>\n\u003cp>\u003cstrong>Feeling Overlooked\u003c/strong>\u003c/p>\n\u003cp>When it comes to our culinary traditions, Latinos are used to feeling robbed.\u003c/p>\n\u003cp>Latino activists spoke out in May when Chipotle announced plans to print original stories by famous writers on its paper goods and \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/05/24/314865085/why-chipotle-is-accused-of-contributing-to-a-culture-of-invisibility\" target=\"_blank\" rel=\"noopener\">failed to include\u003c/a> any Mexican-Americans or Latinos on the roster. The American-owned chain can profit from Mexican culture while overlooking the harsh reality of how Latinos have been treated in this country.\u003c/p>\n\u003cp>On Cinco de Mayo, chef Anthony Bourdain \u003ca href=\"http://anthonybourdain.tumblr.com/post/84641290831/under-the-volcano\" target=\"_blank\" rel=\"noopener\">asked why Americans love Mexican food\u003c/a>, drugs, alcohol and cheap labor but ignore the violence that happens across the border. “Despite our ridiculously hypocritical attitudes towards immigration,” writes Bourdain, “we demand that Mexicans cook a large percentage of the food we eat, grow the ingredients we need to make that food, clean our houses, mow our lawns, wash our dishes, look after our children.”\u003c/p>\n\u003cp>It’s frustrating when even the staunchest anti-immigration activists \u003ca href=\"http://blogs.ocweekly.com/stickaforkinit/2013/10/tortilla_coast_dc.php\">regularly eat Mexican food\u003c/a>. It seems like a paradox to relish your fajitas while believing the line cook should get deported.\u003c/p>\n\u003cfigure id=\"attachment_10138799\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-1440x1079.jpg\" alt=\"A man sprays colored dye on people dancing during Holi celebrations in India in 2012. Holi, the Hindu festival of colors, also heralds the coming of spring -- a detail that partiers at the Shout Color Throw might miss.\" width=\"640\" height=\"479\" class=\"size-large wp-image-10138799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-1440x1079.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-300x224.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A man sprays colored dye on people dancing during Holi celebrations in India in 2012. Holi, the Hindu festival of colors, also heralds the coming of spring — a detail that partiers at the Shout Color Throw might miss.\u003c/figcaption>\u003c/figure>\n\u003cp>Admittedly, cultural appropriation is an integral and vital part of American history. And one day, empanadas might become as American as pizza (yes, I appreciate the irony of that statement). But the day when Latinos are considered as American as Italian-Americans, well, that feels further away.\u003c/p>\n\u003cp>\u003cstrong>Why It Hurts\u003c/strong>\u003c/p>\n\u003cp>The condolence prize for being an outsider is that you can take solace in the cultural traditions that make you unique. When outsiders use tweezers to pick out the discrete parts of your culture that are worthy of their attention, it feels like a violation. Empanadas are trendy, \u003cem>cumbia\u003c/em> is trendy, but Latinas are still not trendy.\u003c/p>\n\u003cp>Code Switch blogger Gene Demby \u003ca href=\"http://apps.npr.org/codeswitch-changing-races/\">writes\u003c/a>, “It’s much harder now to patrol the ramparts of our cultures, to distinguish between the appreciators and appropriators. Just who gets to play in which cultural sandboxes? Who gets to be the bouncer at the velvet rope?”\u003c/p>\n\u003cp>\u003cstrong>Playing Explorer\u003c/strong>\u003c/p>\n\u003cp>Of course, there is no bouncer, but we can be careful not to Columbus other culture’s traditions. Before you make reservations at the hottest fusion restaurant or book an alternative healing therapy, ask yourself a few questions:\u003c/p>\n\u003cp>Who is providing this good or service for me?\u003c/p>\n\u003cp>Am I engaging with them in a thoughtful manner?\u003c/p>\n\u003cp>Am I learning about this culture?\u003c/p>\n\u003cp>Are people from this culture benefiting from my spending money here?\u003c/p>\n\u003cp>Are they being hurt by my spending money here?\u003c/p>\n\u003cp>It is best to enter a new, ethnic experience with consideration, curiosity and respect. That doesn’t mean you have to act or look the part of a dour-faced anthropologist or an ultra-earnest tourist. You can go outside your comfort zone and learn about the completely different worlds that coexist within your city. If you’re adventurous, you can explore the entire world without leaving the country and without needing a passport.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just remember, it’s great to love a different culture and its artifacts, as long as you love the people too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Columbusing%27%3A+The+Art+Of+Discovering+Something+That+Is+Not+New+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve danced to an Afrobeat-heavy pop song, dipped hummus, sipped coconut water, participated in a Desi-inspired \u003ca href=\"http://www.browngirlmagazine.com/2013/04/color-run-controversy\" target=\"_blank\" rel=\"noopener\">color run\u003c/a> or sported a henna tattoo, then you’ve Columbused something.\u003c/p>\n\u003cp>\u003ca href=\"http://www.collegehumor.com/video/6976820/columbusing-discovering-things-for-white-pe\" target=\"_blank\" rel=\"noopener\">Columbusing\u003c/a> is when you “discover” something that’s existed forever. Just that it’s existed outside your own culture, nationality, race or even, say, your neighborhood. Bonus points if you tell all your friends about it.\u003c/p>\n\u003cp>Why not? In our immigrant-rich cities, the whole world is at our doorsteps.\u003c/p>\n\u003cp>Sometimes, though, Columbusing can feel icky. When is cultural appropriation a healthy byproduct of globalization and when is it a problem?\u003c/p>\n\u003cp>\u003cstrong>All The Rage\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Buzzfeed Food published an article asking, “Have you heard about \u003ca href=\"http://www.buzzfeed.com/rachelysanders/hand-pies-are-the-best-and-cutest-pies\" target=\"_blank\" rel=\"noopener\">the new kind of pie\u003c/a> that’s \u003cem>all the rage\u003c/em> lately?” It’s a hand pie, a little foldover pie that you can fit in your hand. They have flaky crusts and can be sweet or savory. You know, exactly like an empanada, a Latin American culinary staple.\u003c/p>\n\u003cp>On face value, it seems stupid to get worked up over an empanada. I mean, it’s just a pastry, right? But “discovering” empanadas on Pinterest and calling them “hand pies” strips empanadas of their cultural context. To all the people who grew up eating empanadas, it can feel like theft.\u003c/p>\n\u003cp>\u003cstrong>Feeling Overlooked\u003c/strong>\u003c/p>\n\u003cp>When it comes to our culinary traditions, Latinos are used to feeling robbed.\u003c/p>\n\u003cp>Latino activists spoke out in May when Chipotle announced plans to print original stories by famous writers on its paper goods and \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/05/24/314865085/why-chipotle-is-accused-of-contributing-to-a-culture-of-invisibility\" target=\"_blank\" rel=\"noopener\">failed to include\u003c/a> any Mexican-Americans or Latinos on the roster. The American-owned chain can profit from Mexican culture while overlooking the harsh reality of how Latinos have been treated in this country.\u003c/p>\n\u003cp>On Cinco de Mayo, chef Anthony Bourdain \u003ca href=\"http://anthonybourdain.tumblr.com/post/84641290831/under-the-volcano\" target=\"_blank\" rel=\"noopener\">asked why Americans love Mexican food\u003c/a>, drugs, alcohol and cheap labor but ignore the violence that happens across the border. “Despite our ridiculously hypocritical attitudes towards immigration,” writes Bourdain, “we demand that Mexicans cook a large percentage of the food we eat, grow the ingredients we need to make that food, clean our houses, mow our lawns, wash our dishes, look after our children.”\u003c/p>\n\u003cp>It’s frustrating when even the staunchest anti-immigration activists \u003ca href=\"http://blogs.ocweekly.com/stickaforkinit/2013/10/tortilla_coast_dc.php\">regularly eat Mexican food\u003c/a>. It seems like a paradox to relish your fajitas while believing the line cook should get deported.\u003c/p>\n\u003cfigure id=\"attachment_10138799\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-1440x1079.jpg\" alt=\"A man sprays colored dye on people dancing during Holi celebrations in India in 2012. Holi, the Hindu festival of colors, also heralds the coming of spring -- a detail that partiers at the Shout Color Throw might miss.\" width=\"640\" height=\"479\" class=\"size-large wp-image-10138799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-1440x1079.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-300x224.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A man sprays colored dye on people dancing during Holi celebrations in India in 2012. Holi, the Hindu festival of colors, also heralds the coming of spring — a detail that partiers at the Shout Color Throw might miss.\u003c/figcaption>\u003c/figure>\n\u003cp>Admittedly, cultural appropriation is an integral and vital part of American history. And one day, empanadas might become as American as pizza (yes, I appreciate the irony of that statement). But the day when Latinos are considered as American as Italian-Americans, well, that feels further away.\u003c/p>\n\u003cp>\u003cstrong>Why It Hurts\u003c/strong>\u003c/p>\n\u003cp>The condolence prize for being an outsider is that you can take solace in the cultural traditions that make you unique. When outsiders use tweezers to pick out the discrete parts of your culture that are worthy of their attention, it feels like a violation. Empanadas are trendy, \u003cem>cumbia\u003c/em> is trendy, but Latinas are still not trendy.\u003c/p>\n\u003cp>Code Switch blogger Gene Demby \u003ca href=\"http://apps.npr.org/codeswitch-changing-races/\">writes\u003c/a>, “It’s much harder now to patrol the ramparts of our cultures, to distinguish between the appreciators and appropriators. Just who gets to play in which cultural sandboxes? Who gets to be the bouncer at the velvet rope?”\u003c/p>\n\u003cp>\u003cstrong>Playing Explorer\u003c/strong>\u003c/p>\n\u003cp>Of course, there is no bouncer, but we can be careful not to Columbus other culture’s traditions. Before you make reservations at the hottest fusion restaurant or book an alternative healing therapy, ask yourself a few questions:\u003c/p>\n\u003cp>Who is providing this good or service for me?\u003c/p>\n\u003cp>Am I engaging with them in a thoughtful manner?\u003c/p>\n\u003cp>Am I learning about this culture?\u003c/p>\n\u003cp>Are people from this culture benefiting from my spending money here?\u003c/p>\n\u003cp>Are they being hurt by my spending money here?\u003c/p>\n\u003cp>It is best to enter a new, ethnic experience with consideration, curiosity and respect. That doesn’t mean you have to act or look the part of a dour-faced anthropologist or an ultra-earnest tourist. You can go outside your comfort zone and learn about the completely different worlds that coexist within your city. If you’re adventurous, you can explore the entire world without leaving the country and without needing a passport.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just remember, it’s great to love a different culture and its artifacts, as long as you love the people too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Columbusing%27%3A+The+Art+Of+Discovering+Something+That+Is+Not+New+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There was better news than expected last night for arts funding in Richmond.\u003c/p>\n\u003cp>The city council approved a tentative budget that makes cuts to public safety and other services, but provides the same support as last year to the East Bay Center for the Performing Arts and to NIAD — an arts center for the disabled.\u003c/p>\n\u003cp>“We’re definitely going to have a celebration,” said NIAD Executive Director Deb Dyer.\u003c/p>\n\u003cp>Support for the popular Richmond Arts Center was cut by about a quarter — to $275 thousand. But RAC Executive Director Richard Ambrose says that’s a better fate than expected. “We’re hoping that we can tighten our belt a little bit, but not eliminate any programs.”\u003c/p>\n\u003cp>Over the past two weeks, supporters flooded council members with letters and emails backing the center’s programs in the Richmond schools, which serve about 500 kids annually.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And that really is what generated the support from the city to really try to find additional funds for the arts,” Ambrose said this morning. “Particularly our program that we reach out into the community giving kids the opportunity to expand their creative skills.”\u003c/p>\n\u003cp>Ambrose says he will turn to funders to make up the budget shortfall of $100 thousand, about ten percent of the RAC’s annual budget.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ambrose and Dyer say they’re still worried that Richmond may well face a similar deficit next year, and that councilmembers won’t be so generous.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There was better news than expected last night for arts funding in Richmond.\u003c/p>\n\u003cp>The city council approved a tentative budget that makes cuts to public safety and other services, but provides the same support as last year to the East Bay Center for the Performing Arts and to NIAD — an arts center for the disabled.\u003c/p>\n\u003cp>“We’re definitely going to have a celebration,” said NIAD Executive Director Deb Dyer.\u003c/p>\n\u003cp>Support for the popular Richmond Arts Center was cut by about a quarter — to $275 thousand. But RAC Executive Director Richard Ambrose says that’s a better fate than expected. “We’re hoping that we can tighten our belt a little bit, but not eliminate any programs.”\u003c/p>\n\u003cp>Over the past two weeks, supporters flooded council members with letters and emails backing the center’s programs in the Richmond schools, which serve about 500 kids annually.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And that really is what generated the support from the city to really try to find additional funds for the arts,” Ambrose said this morning. “Particularly our program that we reach out into the community giving kids the opportunity to expand their creative skills.”\u003c/p>\n\u003cp>Ambrose says he will turn to funders to make up the budget shortfall of $100 thousand, about ten percent of the RAC’s annual budget.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ambrose and Dyer say they’re still worried that Richmond may well face a similar deficit next year, and that councilmembers won’t be so generous.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Artist Scott Hove, a Bay Area native who has made a name for himself in the art world with his striking, cake-themed sculptures, is packing up his frosting and moving to Los Angeles. Last week Hove shut down \u003ca href=\"http://www.mshove.com/cakeland/index.htm\" target=\"_blank\" rel=\"noopener\">Cakeland,\u003c/a> the Oakland storefront he has both lived and exhibited in since 2009. Word of the closure prompted a mad dash by local art fans to see the beautiful and weird world Hove had built in the days before he shuttered the doors and started packing to move.\u003c/p>\n\u003cp>Like many other local artists and creative types, Hove is being priced out of the Bay Area, somewhat. With his star on the rise, Hove is moving into a warehouse in L.A. (something unaffordable in the Bay Area), where he will expand his Cakeland vision further. The cheap space will allow him to do more \u003ca href=\"http://www.mshove.com/cakeland/index-installations.htm\" target=\"_blank\" rel=\"noopener\">massive installations\u003c/a> and he’ll be in closer proximity to more movers and shakers in the art world.\u003c/p>\n\u003cp>We had a few questions for Hove as he packed up for his big move and his honest, insightful answers are below.\u003c/p>\n\u003cfigure id=\"attachment_10138631\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg\" alt=\"Cake Vault, 2008\" width=\"640\" height=\"677\" class=\"size-full wp-image-10138631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1-400x423.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1-283x300.jpg 283w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scott Hove, \u003ci>Cake Vault\u003c/i>, 2008\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is the story behind the Cakeland space? Did the owners know what you planned to do with the store front? Did they know you’d be living in it?\u003c/strong>\u003c/p>\n\u003cp>I had been looking for a suitable place to live and work for several months, and this 1929 former French laundry building opened up. I didn’t expect to find a place with such a lovely storefront, and quickly went about making window displays that I thought would be fun. The building owner is a very cool guy and trusted me to do something that wouldn’t upset the neighbors!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How many separate pieces make up the space — or is it one large installation? How long have you been working on it? How long did it take to make?\u003c/strong>\u003c/p>\n\u003cp>In the storefront gallery, I have two individual mirror chambers, plus a large mirror maze. There is also a blackened hell pit, which is a favorite aspect for viewers. I have one large wall that features my more conventionally-sized wall hanging sculptures. I have done several versions of Cakeland in the space, and the current configuration has been in place for about a year and a half. I keep working on my installations as long as there is space to keep adding on.\u003c/p>\n\u003cp>\u003cstrong>What is the inspiration for your cake-themed work? Where did the idea for adding the teeth come from? (Is it really about the cakes needing to defend themselves?)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg\" alt=\"Hove-Work\" width=\"640\" height=\"401\" class=\"alignright size-full wp-image-10138630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1-300x187.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>I love captivating the emotions of my viewers, and using the image of cake as a language opens people up to be receptive to the messages in the work, whether that message is mine or the viewer’s. The fangs, horns and switchblades are there to add psychological depth to the viewing experience and force the viewer to choose how to integrate the dark elements into the lightness of the cake. This process of integrating dualistic forces is unique to each person, and the art becomes part of them. I strive to make the experience as satisfying as possible.\u003c/p>\n\u003cp>\u003cstrong>What are the materials that go into the realistic cake pieces? How long does it take to complete a piece?\u003c/strong>\u003c/p>\n\u003cp>I use whatever materials are on hand to create a suitable form, and carve specific elements from a wood-like poly foam. I do the decorative frosting with a variety or acrylic media. A piece can take from three days to three months depending on complexity and scale.\u003c/p>\n\u003cp>\u003cstrong>Is there one piece in particular that truly exemplifies your vision? Are you able to describe what makes it successful?\u003c/strong>\u003c/p>\n\u003cp>Every piece I work on seems like the breakthrough of the moment. There are a few pieces that have a particular staying power, or an iconic quality that makes them seem newer every day. The womb-like \u003cem>Cake Vault\u003c/em> (2008) is a favorite, with its transcendental comfort. \u003cem>Oligarch\u003c/em> (2014) has a fierceness that is like a blast of hot wind in the face.\u003c/p>\n\u003cp>\u003cstrong>How did the neighborhood take to the space? Did you get a lot of visitors?\u003c/strong>\u003c/p>\n\u003cp>Simply by turning some lights on in the storefront improved the semi-sketchy quality of the corner, which I think was appreciated. Making it an interesting viewing experience helped enrich the neighborhood, which is good for everyone. I never have regular hours, which annoys some people… I just wait for the most determined people to track me down and make an appointment.\u003c/p>\n\u003cp>\u003cstrong>Why are you moving?\u003c/strong>\u003c/p>\n\u003cp>Several reasons. First, the building is in bad need of repair and the owner needs to invest in the space. Second, I’ve run out of space to experiment and I’m not willing to do it in my living room. Third, I’ve really hit a ceiling as far as what I can accomplish here in the Bay Area. I need a bigger space and a more intense playing field. The Bay Area has always been a good place to do art, but not always the best place to leverage one’s art career to its fullest potential.\u003c/p>\n\u003cp>\u003cstrong>What plans do you have for the warehouse space in L.A.?\u003c/strong>\u003c/p>\n\u003cp>Bigger, better, stronger, faster. I’m going to L.A. to do big things.\u003c/p>\n\u003cp>\u003cstrong>Do you think you’ll miss the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course! I was born on California Street in the City and raised in the open spaces of Marin. I know and love many secret natural places where I recalibrate and recharge. It’s not like I’m making this move because I’m in love with how L.A. looks… though I’m finding out fast that L.A. people are really friendly and genuine. I hope that I’ll make enough money eventually to return and get a cool house in Mill Valley or someplace close to the mountain.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artist Scott Hove, a Bay Area native who has made a name for himself in the art world with his striking, cake-themed sculptures, is packing up his frosting and moving to Los Angeles. Last week Hove shut down \u003ca href=\"http://www.mshove.com/cakeland/index.htm\" target=\"_blank\" rel=\"noopener\">Cakeland,\u003c/a> the Oakland storefront he has both lived and exhibited in since 2009. Word of the closure prompted a mad dash by local art fans to see the beautiful and weird world Hove had built in the days before he shuttered the doors and started packing to move.\u003c/p>\n\u003cp>Like many other local artists and creative types, Hove is being priced out of the Bay Area, somewhat. With his star on the rise, Hove is moving into a warehouse in L.A. (something unaffordable in the Bay Area), where he will expand his Cakeland vision further. The cheap space will allow him to do more \u003ca href=\"http://www.mshove.com/cakeland/index-installations.htm\" target=\"_blank\" rel=\"noopener\">massive installations\u003c/a> and he’ll be in closer proximity to more movers and shakers in the art world.\u003c/p>\n\u003cp>We had a few questions for Hove as he packed up for his big move and his honest, insightful answers are below.\u003c/p>\n\u003cfigure id=\"attachment_10138631\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg\" alt=\"Cake Vault, 2008\" width=\"640\" height=\"677\" class=\"size-full wp-image-10138631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1-400x423.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vaultshot-copy1-283x300.jpg 283w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Scott Hove, \u003ci>Cake Vault\u003c/i>, 2008\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What is the story behind the Cakeland space? Did the owners know what you planned to do with the store front? Did they know you’d be living in it?\u003c/strong>\u003c/p>\n\u003cp>I had been looking for a suitable place to live and work for several months, and this 1929 former French laundry building opened up. I didn’t expect to find a place with such a lovely storefront, and quickly went about making window displays that I thought would be fun. The building owner is a very cool guy and trusted me to do something that wouldn’t upset the neighbors!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How many separate pieces make up the space — or is it one large installation? How long have you been working on it? How long did it take to make?\u003c/strong>\u003c/p>\n\u003cp>In the storefront gallery, I have two individual mirror chambers, plus a large mirror maze. There is also a blackened hell pit, which is a favorite aspect for viewers. I have one large wall that features my more conventionally-sized wall hanging sculptures. I have done several versions of Cakeland in the space, and the current configuration has been in place for about a year and a half. I keep working on my installations as long as there is space to keep adding on.\u003c/p>\n\u003cp>\u003cstrong>What is the inspiration for your cake-themed work? Where did the idea for adding the teeth come from? (Is it really about the cakes needing to defend themselves?)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg\" alt=\"Hove-Work\" width=\"640\" height=\"401\" class=\"alignright size-full wp-image-10138630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Hove-Work1-300x187.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>I love captivating the emotions of my viewers, and using the image of cake as a language opens people up to be receptive to the messages in the work, whether that message is mine or the viewer’s. The fangs, horns and switchblades are there to add psychological depth to the viewing experience and force the viewer to choose how to integrate the dark elements into the lightness of the cake. This process of integrating dualistic forces is unique to each person, and the art becomes part of them. I strive to make the experience as satisfying as possible.\u003c/p>\n\u003cp>\u003cstrong>What are the materials that go into the realistic cake pieces? How long does it take to complete a piece?\u003c/strong>\u003c/p>\n\u003cp>I use whatever materials are on hand to create a suitable form, and carve specific elements from a wood-like poly foam. I do the decorative frosting with a variety or acrylic media. A piece can take from three days to three months depending on complexity and scale.\u003c/p>\n\u003cp>\u003cstrong>Is there one piece in particular that truly exemplifies your vision? Are you able to describe what makes it successful?\u003c/strong>\u003c/p>\n\u003cp>Every piece I work on seems like the breakthrough of the moment. There are a few pieces that have a particular staying power, or an iconic quality that makes them seem newer every day. The womb-like \u003cem>Cake Vault\u003c/em> (2008) is a favorite, with its transcendental comfort. \u003cem>Oligarch\u003c/em> (2014) has a fierceness that is like a blast of hot wind in the face.\u003c/p>\n\u003cp>\u003cstrong>How did the neighborhood take to the space? Did you get a lot of visitors?\u003c/strong>\u003c/p>\n\u003cp>Simply by turning some lights on in the storefront improved the semi-sketchy quality of the corner, which I think was appreciated. Making it an interesting viewing experience helped enrich the neighborhood, which is good for everyone. I never have regular hours, which annoys some people… I just wait for the most determined people to track me down and make an appointment.\u003c/p>\n\u003cp>\u003cstrong>Why are you moving?\u003c/strong>\u003c/p>\n\u003cp>Several reasons. First, the building is in bad need of repair and the owner needs to invest in the space. Second, I’ve run out of space to experiment and I’m not willing to do it in my living room. Third, I’ve really hit a ceiling as far as what I can accomplish here in the Bay Area. I need a bigger space and a more intense playing field. The Bay Area has always been a good place to do art, but not always the best place to leverage one’s art career to its fullest potential.\u003c/p>\n\u003cp>\u003cstrong>What plans do you have for the warehouse space in L.A.?\u003c/strong>\u003c/p>\n\u003cp>Bigger, better, stronger, faster. I’m going to L.A. to do big things.\u003c/p>\n\u003cp>\u003cstrong>Do you think you’ll miss the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course! I was born on California Street in the City and raised in the open spaces of Marin. I know and love many secret natural places where I recalibrate and recharge. It’s not like I’m making this move because I’m in love with how L.A. looks… though I’m finding out fast that L.A. people are really friendly and genuine. I hope that I’ll make enough money eventually to return and get a cool house in Mill Valley or someplace close to the mountain.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Scott Shafer’s report on photographer Anthony Friedkin’s \u003cb>The Gay Essay\u003c/b> for the California Report on Friday, June 27, 2014:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/10/20140627artsfriedkin.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/25/gay-essay-portraits-of-lgbt-shadow-world-finally-see-light/\">VIDEO: ‘Gay Essay’ Photographer Helped Bring Queer Life Out of Shadows\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/25/gay-essay-portraits-of-lgbt-shadow-world-finally-see-light/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/poster-frame-friedkin-michelle-672x372.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> To mark the 45th anniversary of the Stonewall riots, the de Young Museum is exhibiting Anthony Friedkin’s photo essay of queer life in California, taken at a time when homosexuality was illegal in the state. Scott Shafer explores the creation of this groundbreaking work and the dark times that inspired it.\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/18/through-queer-eyes-45-years-of-mostly-west-coast-lgbt-photography/\">Through Queer Eyes: 45 Years of (Mostly West Coast) LGBT Photography\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/18/through-queer-eyes-45-years-of-mostly-west-coast-lgbt-photography/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> In the decades since Anthony Friedkin made \u003cem>The Gay Essay,\u003c/em> LGBT photographers have continued to explore and expand the meaning of queer identity. Works by the 12 artists in this visual history illuminate themes from those turbulent years.\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>June is LGBT Pride month and this weekend San Francisco hosts the nation’s largest Gay Pride Parade. This year’s events come at a time of extraordinary success for gay rights advocates. The gay and lesbian community in West Hollywood celebrated Pride recently with a mural unveiling at a Wells Fargo bank branch that includes an image from more than four decades ago, part of a collection coming to light only now.\u003c/p>\n\u003cp>It’s a colorized version of a black and white photograph of two men, Morris Kight and Don Kilhefner. The two were gay rights pioneers, co-founding the Gay and Lesbian Community Service Center in Los Angeles in 1970. \u003c/p>\n\u003cp>Kight died 11 years ago but Kilhefner, now 76, was on hand for the unveiling along with Anthony Friedkin, the man who shot that photo. It was the first time they’d seen each other in over 40 years.\u003c/p>\n\u003cp>In 1969, Kilhefner and Kight were approached by Friedkin, then a 19-year-old photographer. Kilhefner remembers the young artist wanted their help getting entree to their community.\u003c/p>\n\u003cp>“Up until that time gay people were not seen very much,” Kilhefner recalls. “If we were seen in public, like a \u003ci>Life Magazine\u003c/i> spread, our faces would be darkened out. It was almost as if you couldn’t show us publicly.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Things began to change with the Stonewall Riots in New York City. Gay men and lesbians were beginning to emerge from the shadows.\u003c/p>\n\u003cp>“It was a political revolution, it was a social revolution, it was a cultural revolution,” Kilhefner says. “It was a spiritual revolution in consciousness for gay people.”\u003c/p>\n\u003cp>It’s what Friedkin wanted to capture with his camera. Friedkin grew up around gay people — his father was a Hollywood writer and director, his mother a dancer at Paramount Studios.\u003c/p>\n\u003cp>But while capturing images of an emerging community long in the shadows made perfect sense to him, he was a little ahead of his time.\u003c/p>\n\u003cp>“Some of my best friends were like, ‘Why are you photographing gay people?’” Friedkin recalls. “‘Like what’s up with you? Are you gay? You know, why are you doing this, ya know?’”\u003c/p>\n\u003cp>But Friedkin wasn’t deterred. Between 1969 and 1973, he spent months hanging out first in Los Angeles, then in San Francisco. On the streets, in bars and nightclubs — sometimes in club bathrooms as drag queens transformed into character. These are some of Friedkin’s favorite photographs.\u003c/p>\n\u003cp>“And these are big men who weigh, two, three hundred pounds,” Friedkin says. “They’re like football players. They have lipstick on and beautiful brassieres and necklaces around their neck. And also visually it was exciting to photograph them because just how they put it all together. It was like that Kinks’ song ‘Lola.’”\u003c/p>\n\u003cp>After hearing about the San Francisco drag troupe The Cockettes, Friedkin went to San Francisco, photographing the performers – including Divine – in a North Beach theater.\u003c/p>\n\u003cp>“I wanted to photograph gays who were willing to take the chance and be courageous and go out the door and say, ‘This is who I am and I’m proud of it,’” Friedkin says.\u003c/p>\n\u003cp>Although he titled this collection of black and white photos \u003cem>The Gay Essay\u003c/em>, he wasn’t making it for a gay audience. He wanted to share his work — documenting a movement and using the images to convey the empathy he felt for his subjects. But his work got only minor attention. Until now.\u003c/p>\n\u003cp>The de Young Museum in San Francisco is featuring \u003ca href=\"https://deyoung.famsf.org/deyoung/exhibitions/anthony-friedkin-gay-essay\" target=\"_blank\" rel=\"noopener\">\u003cem>The Gay Essay\u003c/em>\u003c/a> now through January 11, 2015. The de Young’s photography curator Julian Cox says Friedkin’s collection never got the attention it deserved. \u003c/p>\n\u003cp>“Friedkin’s own efforts to get the photography into the best museums in the country that were working with photography at the time was [sic] not successful,” Cox says. “And it’s taken him 40 years to make it happen.”\u003c/p>\n\u003cp>The reason, Cox says, is that there was a limited audience, and limited opportunities to reach them.\u003c/p>\n\u003cp>“The expression of gay lifestyles is so common in our culture nowadays, from television to videomaking and music as well that it’s not really an issue anymore,” Cox says. “At the time Friedkin was making \u003cem>The Gay Essay\u003c/em> it was still red hot.”\u003c/p>\n\u003cp>And too hot to touch, at least for most galleries of the day. In fact, homosexuality was still illegal in California. The FBI and the LAPD infiltrated gay political and social groups. There was entrapment, harassment and police brutality.\u003c/p>\n\u003cp>Through it all, Friedkin kept working with his Leica M4 camera. The result: a sensuous collection that also documents an era. There are drag queens and hustlers, intimate images of gay and lesbian couples, teenagers just discovering their sexuality. Friedkin’s photos capture the humanity of them all. \u003c/p>\n\u003cp>“There was this incredible need for intimacy and physical passion with each other,” Friedkin says. “The desire to connect, to communicate, to love one another. And I saw it more and more in the photographs.”\u003c/p>\n\u003cp>Art critic Hal Fisher worked for \u003ci>Artweek\u003c/i> in the 1970s. He says to fully appreciate \u003cem>The Gay Essay\u003c/em> you have to appreciate how Friedkin used the rapport he developed.\u003c/p>\n\u003cp>“Anthony Friedkin’s work goes beyond documentation,” Fisher says. “It’s art. It’s not just people saying, ‘Oh, I’m going to the gay day parade I’m going to photograph it.’”\u003c/p>\n\u003cp>As San Francisco holds its annual Gay Pride parade this weekend, Kilhefner hopes Friedkin’s photos help younger LGBT generations understand how a rag-tag group of hippies, hustlers, drag queens and activists laid the foundation for this extraordinary era of civil rights progress.\u003c/p>\n\u003cp>“It’s going to allow gay people to look back and say, ‘Oh my God, that’s what they looked like then. That’s what they were wearing then. That’s what they were doing,'” Kilhefner says. “These are the people who lived that formative period of our history called the beginning of gay liberation.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Scott Shafer’s report on photographer Anthony Friedkin’s \u003cb>The Gay Essay\u003c/b> for the California Report on Friday, June 27, 2014:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/10/20140627artsfriedkin.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/25/gay-essay-portraits-of-lgbt-shadow-world-finally-see-light/\">VIDEO: ‘Gay Essay’ Photographer Helped Bring Queer Life Out of Shadows\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/25/gay-essay-portraits-of-lgbt-shadow-world-finally-see-light/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/poster-frame-friedkin-michelle-672x372.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> To mark the 45th anniversary of the Stonewall riots, the de Young Museum is exhibiting Anthony Friedkin’s photo essay of queer life in California, taken at a time when homosexuality was illegal in the state. Scott Shafer explores the creation of this groundbreaking work and the dark times that inspired it.\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/18/through-queer-eyes-45-years-of-mostly-west-coast-lgbt-photography/\">Through Queer Eyes: 45 Years of (Mostly West Coast) LGBT Photography\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/2014/06/18/through-queer-eyes-45-years-of-mostly-west-coast-lgbt-photography/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/misty-and-jimmy-paulette-1200px.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> In the decades since Anthony Friedkin made \u003cem>The Gay Essay,\u003c/em> LGBT photographers have continued to explore and expand the meaning of queer identity. Works by the 12 artists in this visual history illuminate themes from those turbulent years.\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>June is LGBT Pride month and this weekend San Francisco hosts the nation’s largest Gay Pride Parade. This year’s events come at a time of extraordinary success for gay rights advocates. The gay and lesbian community in West Hollywood celebrated Pride recently with a mural unveiling at a Wells Fargo bank branch that includes an image from more than four decades ago, part of a collection coming to light only now.\u003c/p>\n\u003cp>It’s a colorized version of a black and white photograph of two men, Morris Kight and Don Kilhefner. The two were gay rights pioneers, co-founding the Gay and Lesbian Community Service Center in Los Angeles in 1970. \u003c/p>\n\u003cp>Kight died 11 years ago but Kilhefner, now 76, was on hand for the unveiling along with Anthony Friedkin, the man who shot that photo. It was the first time they’d seen each other in over 40 years.\u003c/p>\n\u003cp>In 1969, Kilhefner and Kight were approached by Friedkin, then a 19-year-old photographer. Kilhefner remembers the young artist wanted their help getting entree to their community.\u003c/p>\n\u003cp>“Up until that time gay people were not seen very much,” Kilhefner recalls. “If we were seen in public, like a \u003ci>Life Magazine\u003c/i> spread, our faces would be darkened out. It was almost as if you couldn’t show us publicly.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Things began to change with the Stonewall Riots in New York City. Gay men and lesbians were beginning to emerge from the shadows.\u003c/p>\n\u003cp>“It was a political revolution, it was a social revolution, it was a cultural revolution,” Kilhefner says. “It was a spiritual revolution in consciousness for gay people.”\u003c/p>\n\u003cp>It’s what Friedkin wanted to capture with his camera. Friedkin grew up around gay people — his father was a Hollywood writer and director, his mother a dancer at Paramount Studios.\u003c/p>\n\u003cp>But while capturing images of an emerging community long in the shadows made perfect sense to him, he was a little ahead of his time.\u003c/p>\n\u003cp>“Some of my best friends were like, ‘Why are you photographing gay people?’” Friedkin recalls. “‘Like what’s up with you? Are you gay? You know, why are you doing this, ya know?’”\u003c/p>\n\u003cp>But Friedkin wasn’t deterred. Between 1969 and 1973, he spent months hanging out first in Los Angeles, then in San Francisco. On the streets, in bars and nightclubs — sometimes in club bathrooms as drag queens transformed into character. These are some of Friedkin’s favorite photographs.\u003c/p>\n\u003cp>“And these are big men who weigh, two, three hundred pounds,” Friedkin says. “They’re like football players. They have lipstick on and beautiful brassieres and necklaces around their neck. And also visually it was exciting to photograph them because just how they put it all together. It was like that Kinks’ song ‘Lola.’”\u003c/p>\n\u003cp>After hearing about the San Francisco drag troupe The Cockettes, Friedkin went to San Francisco, photographing the performers – including Divine – in a North Beach theater.\u003c/p>\n\u003cp>“I wanted to photograph gays who were willing to take the chance and be courageous and go out the door and say, ‘This is who I am and I’m proud of it,’” Friedkin says.\u003c/p>\n\u003cp>Although he titled this collection of black and white photos \u003cem>The Gay Essay\u003c/em>, he wasn’t making it for a gay audience. He wanted to share his work — documenting a movement and using the images to convey the empathy he felt for his subjects. But his work got only minor attention. Until now.\u003c/p>\n\u003cp>The de Young Museum in San Francisco is featuring \u003ca href=\"https://deyoung.famsf.org/deyoung/exhibitions/anthony-friedkin-gay-essay\" target=\"_blank\" rel=\"noopener\">\u003cem>The Gay Essay\u003c/em>\u003c/a> now through January 11, 2015. The de Young’s photography curator Julian Cox says Friedkin’s collection never got the attention it deserved. \u003c/p>\n\u003cp>“Friedkin’s own efforts to get the photography into the best museums in the country that were working with photography at the time was [sic] not successful,” Cox says. “And it’s taken him 40 years to make it happen.”\u003c/p>\n\u003cp>The reason, Cox says, is that there was a limited audience, and limited opportunities to reach them.\u003c/p>\n\u003cp>“The expression of gay lifestyles is so common in our culture nowadays, from television to videomaking and music as well that it’s not really an issue anymore,” Cox says. “At the time Friedkin was making \u003cem>The Gay Essay\u003c/em> it was still red hot.”\u003c/p>\n\u003cp>And too hot to touch, at least for most galleries of the day. In fact, homosexuality was still illegal in California. The FBI and the LAPD infiltrated gay political and social groups. There was entrapment, harassment and police brutality.\u003c/p>\n\u003cp>Through it all, Friedkin kept working with his Leica M4 camera. The result: a sensuous collection that also documents an era. There are drag queens and hustlers, intimate images of gay and lesbian couples, teenagers just discovering their sexuality. Friedkin’s photos capture the humanity of them all. \u003c/p>\n\u003cp>“There was this incredible need for intimacy and physical passion with each other,” Friedkin says. “The desire to connect, to communicate, to love one another. And I saw it more and more in the photographs.”\u003c/p>\n\u003cp>Art critic Hal Fisher worked for \u003ci>Artweek\u003c/i> in the 1970s. He says to fully appreciate \u003cem>The Gay Essay\u003c/em> you have to appreciate how Friedkin used the rapport he developed.\u003c/p>\n\u003cp>“Anthony Friedkin’s work goes beyond documentation,” Fisher says. “It’s art. It’s not just people saying, ‘Oh, I’m going to the gay day parade I’m going to photograph it.’”\u003c/p>\n\u003cp>As San Francisco holds its annual Gay Pride parade this weekend, Kilhefner hopes Friedkin’s photos help younger LGBT generations understand how a rag-tag group of hippies, hustlers, drag queens and activists laid the foundation for this extraordinary era of civil rights progress.\u003c/p>\n\u003cp>“It’s going to allow gay people to look back and say, ‘Oh my God, that’s what they looked like then. That’s what they were wearing then. That’s what they were doing,'” Kilhefner says. “These are the people who lived that formative period of our history called the beginning of gay liberation.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I am not sure how this became my beat, but it seems I am constantly reporting news about rapid changes to the current San Francisco cultural scene. I suppose it’s one of those “right (or wrong) place, right time” scenarios… \u003c/p>\n\u003cp>In any case, Pinterest has signed on to locate its headquarters in a 4-story building in SF’s Showplace Square Design District. The 311,000 square foot structure is currently full of — shockingly — designers and their ilk, who will face eviction if the deal goes through, according to \u003ca href=\"http://www.sfgate.com/default/article/Pinterest-s-Design-District-deal-would-push-out-5566906.php\" target=\"_blank\" rel=\"noopener\">a report on \u003ci>SFGate\u003c/i>\u003c/a>. There was one hitch though. The building was zoned as PDR or “production, distribution and repair” in order to protect blue collar jobs in the area, which is undergoing change as rapidly as everywhere else in the city. However, there was a loophole. If the 99-year-old building could be designated a historic landmark, it could legally convert from PDR to office space. The application, filed in 2013, was unanimously approved by the San Francisco Historic Preservation Commission, and then submitted to the Board of Supervisors when Supervisor Malia Cohen stepped in. Cohen is now working to identify other possible locations for Pinterest. Learn more about this story on \u003ci>SFGate\u003c/i> and \u003ca href=\"http://sf.curbed.com/archives/2014/06/23/pinterest_plans_possible_move_into_sf_design_center.php\" target=\"_blank\" rel=\"noopener\">Curbed SF\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10138252\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/2henryadams.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/2henryadams.jpg\" alt=\"2 Henry Adams in San Francisco\" width=\"640\" height=\"480\" class=\"size-full wp-image-10138252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/2henryadams.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/2henryadams-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/2henryadams-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">2 Henry Adams in San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, a couple of very different musicians have put out music that grapples with the city’s changing cultural environment. Given the rapid conversion of former warehouses into condominiums, the music scene is particularly vulnerable to change. Both the \u003ca href=\"http://ww2.kqed.org/arts/2014/06/05/potrero-hill-art-supply-store-arch-gets-eviction-notice/\" target=\"_blank\" rel=\"noopener\">closing of Potrero Hill’s Arch art supply store\u003c/a> and a \u003ca href=\"http://savethehill.com/faq.html\" target=\"_blank\" rel=\"noopener\">proposal to convert the Corovan Building\u003c/a> into luxury condos bode ill for Bottom of the Hill, the venerable music club that has been bringing some of the best music to San Francisco for decades. \u003c/p>\n\u003cp>Once tucked away in a quiet industrial part of SF, the club may soon be surrounded by housing, should current proposals bear fruit. This situation is not unique. Additionally, many practice and rehearsal spaces have disappeared, leaving bands with fewer venues to play and nowhere to practice. These changes do not even take into account the struggle to earn enough money to afford an apartment in the city.\u003c/p>\n\u003cfigure id=\"attachment_10138244\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/478154820_640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/478154820_640.jpg\" alt=\"Still from Candace Roberts' <i>Not My City Anymore</i>\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/478154820_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/478154820_640-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/478154820_640-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from Candace Roberts’ \u003ci>Not My City Anymore\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Many musicians have fled, while others choose to stay and fight. Tomorrow night (Wednesday, June 25, 2014), local cabaret, pop, jazz and etc. singer Candace Roberts is having a \u003ca href=\"http://flavorpill.com/events/candace-roberts-not-my-city-anymore-music-video-release-party\" target=\"_blank\" rel=\"noopener\">party at the Gold Dust Lounge\u003c/a> to celebrate the release of a new music video for her song “Not My City Anymore.” The performer has always included a little social commentary in her act and tomorrow night’s event not only celebrates the music and the gorgeously rendered video (see below), but also offers folks the chance to get involved and do something to reclaim the city they love. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://youtu.be/-yoRVJzQAe0\u003c/p>\n\u003cp>Ironically, Roberts raised $5,000 on Kickstarter to fund the production of the video, which is available on YouTube, and is promoting the event via Facebook — as do many musicians. The personal and professional networks built and utilized for promotion via these outlets, not to mention the self-publishing capabilities are invaluable to modern artists. So why is there such an apparent culture clash? Does this have something to do with different worldviews? I can’t help but think that there is a tension between those who thrive on real-world interaction and those who are constructing a virtual skin in order to move beyond the physical. (Perhaps food for deeper thought.) \u003c/p>\n\u003cp>Roberts says that the inspiration for the song came from an annual autumnal depression. But in 2013, her usual doldrums seemed more pronounced, and then she looked up and found herself surrounded by new high-rise condos, which she understood she could never afford to live in. Coupled with the increasing frequency of the question “Did you hear about so and so getting evicted?” among her peers, Roberts says she began to think: “‘There isn’t a place for me here anymore’ and then out of nowhere I started humming the chorus, ‘No, she’s not my city anymore.'”\u003c/p>\n\u003cp>Roberts says that she has “always felt proud to live in San Francisco. From such a young age I was keenly aware of how truly special it was … a place of radicalism, inclusion and acceptance where anyone could show up and just be their self… As this cultural and economic cleanse sweeps San Francisco, it echoes the rise of income inequality all across the globe and the corporate take over of every aspect of our lives. Somehow I thought San Francisco was different and that we wouldn’t let this happen because of who we are and what we’ve always stood for. ” (Nevermind whether or not that supposition about the real nature of the city is actually true. I recently explored what I called the \u003ca href=\"http://ww2.kqed.org/arts/2014/03/18/priced-out-saying-good-bye-to-the-myth-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">“myth of San Francisco”\u003c/a> in another piece a couple months back.) \u003c/p>\n\u003cp>Roberts began playing the song about town and the rest, as they say, is history. \u003c/p>\n\u003cp>Another musician, Hannah Lew, formerly of Grass Widow, decided to release a compilation album, \u003ci>San Francisco Is Doomed\u003c/i> on her new \u003ca href=\"http://crimeonthemoon.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Crime on the Moon label,\u003c/a> that consists of tracks from local bands and groups that have moved on. The effort is definitely more hard-edged than Roberts’ cabaret and, with contributions by Silver Shadows, Mansion, Thee Oh Sees, Erase Errata, Mikal Cronin and Cold Circuits has a lot more fun with its nihilism. True to its punk/slightly-goth leanings, there is an exuberance found in the darkness of even the most dire situation. \u003c/p>\n\u003cp>Lew \u003ca href=\"http://sfist.com/2014/06/24/is_san_francisco_doomed.php\" target=\"_blank\" rel=\"noopener\">told Sfist\u003c/a> that the division of wealth in the city, especially the “clean up Market Street” campaign made her uneasy. In her opinion, many of these moves are “straight up class war… There’s almost a fascist atheistic to it all. I think it’s really dangerous when there’s a lot of things made for certain people, a certain class. But I mean, all this being said, I can’t live my life on the day-to-day depressed and angry. A big impetus for putting the comp together was to say, yeah, we know it sucks, but let’s just keep doing what we’re doing and making music and put out something positive.”\u003c/p>\n\u003cp>She also noted that the San Francisco music scene had gotten a lot tougher, with less bands playing shows and less people going out for them. We have noticed this at KQED within the last few weeks, with Bay Area tour dates missing from recently announced tours by some pretty big bands, and wondered if something was afoot. (Perhaps more on that later.) \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/36100435″ params=”color=ff5500&auto_play=false&hide_related=false&show_artwork=true&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I am not sure how this became my beat, but it seems I am constantly reporting news about rapid changes to the current San Francisco cultural scene. I suppose it’s one of those “right (or wrong) place, right time” scenarios… \u003c/p>\n\u003cp>In any case, Pinterest has signed on to locate its headquarters in a 4-story building in SF’s Showplace Square Design District. The 311,000 square foot structure is currently full of — shockingly — designers and their ilk, who will face eviction if the deal goes through, according to \u003ca href=\"http://www.sfgate.com/default/article/Pinterest-s-Design-District-deal-would-push-out-5566906.php\" target=\"_blank\" rel=\"noopener\">a report on \u003ci>SFGate\u003c/i>\u003c/a>. There was one hitch though. The building was zoned as PDR or “production, distribution and repair” in order to protect blue collar jobs in the area, which is undergoing change as rapidly as everywhere else in the city. However, there was a loophole. If the 99-year-old building could be designated a historic landmark, it could legally convert from PDR to office space. The application, filed in 2013, was unanimously approved by the San Francisco Historic Preservation Commission, and then submitted to the Board of Supervisors when Supervisor Malia Cohen stepped in. Cohen is now working to identify other possible locations for Pinterest. Learn more about this story on \u003ci>SFGate\u003c/i> and \u003ca href=\"http://sf.curbed.com/archives/2014/06/23/pinterest_plans_possible_move_into_sf_design_center.php\" target=\"_blank\" rel=\"noopener\">Curbed SF\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10138252\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/2henryadams.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/2henryadams.jpg\" alt=\"2 Henry Adams in San Francisco\" width=\"640\" height=\"480\" class=\"size-full wp-image-10138252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/2henryadams.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/2henryadams-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/2henryadams-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">2 Henry Adams in San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, a couple of very different musicians have put out music that grapples with the city’s changing cultural environment. Given the rapid conversion of former warehouses into condominiums, the music scene is particularly vulnerable to change. Both the \u003ca href=\"http://ww2.kqed.org/arts/2014/06/05/potrero-hill-art-supply-store-arch-gets-eviction-notice/\" target=\"_blank\" rel=\"noopener\">closing of Potrero Hill’s Arch art supply store\u003c/a> and a \u003ca href=\"http://savethehill.com/faq.html\" target=\"_blank\" rel=\"noopener\">proposal to convert the Corovan Building\u003c/a> into luxury condos bode ill for Bottom of the Hill, the venerable music club that has been bringing some of the best music to San Francisco for decades. \u003c/p>\n\u003cp>Once tucked away in a quiet industrial part of SF, the club may soon be surrounded by housing, should current proposals bear fruit. This situation is not unique. Additionally, many practice and rehearsal spaces have disappeared, leaving bands with fewer venues to play and nowhere to practice. These changes do not even take into account the struggle to earn enough money to afford an apartment in the city.\u003c/p>\n\u003cfigure id=\"attachment_10138244\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/478154820_640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/478154820_640.jpg\" alt=\"Still from Candace Roberts' <i>Not My City Anymore</i>\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/478154820_640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/478154820_640-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/478154820_640-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from Candace Roberts’ \u003ci>Not My City Anymore\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Many musicians have fled, while others choose to stay and fight. Tomorrow night (Wednesday, June 25, 2014), local cabaret, pop, jazz and etc. singer Candace Roberts is having a \u003ca href=\"http://flavorpill.com/events/candace-roberts-not-my-city-anymore-music-video-release-party\" target=\"_blank\" rel=\"noopener\">party at the Gold Dust Lounge\u003c/a> to celebrate the release of a new music video for her song “Not My City Anymore.” The performer has always included a little social commentary in her act and tomorrow night’s event not only celebrates the music and the gorgeously rendered video (see below), but also offers folks the chance to get involved and do something to reclaim the city they love. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-yoRVJzQAe0'\n title='//www.youtube.com/embed/-yoRVJzQAe0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ironically, Roberts raised $5,000 on Kickstarter to fund the production of the video, which is available on YouTube, and is promoting the event via Facebook — as do many musicians. The personal and professional networks built and utilized for promotion via these outlets, not to mention the self-publishing capabilities are invaluable to modern artists. So why is there such an apparent culture clash? Does this have something to do with different worldviews? I can’t help but think that there is a tension between those who thrive on real-world interaction and those who are constructing a virtual skin in order to move beyond the physical. (Perhaps food for deeper thought.) \u003c/p>\n\u003cp>Roberts says that the inspiration for the song came from an annual autumnal depression. But in 2013, her usual doldrums seemed more pronounced, and then she looked up and found herself surrounded by new high-rise condos, which she understood she could never afford to live in. Coupled with the increasing frequency of the question “Did you hear about so and so getting evicted?” among her peers, Roberts says she began to think: “‘There isn’t a place for me here anymore’ and then out of nowhere I started humming the chorus, ‘No, she’s not my city anymore.'”\u003c/p>\n\u003cp>Roberts says that she has “always felt proud to live in San Francisco. From such a young age I was keenly aware of how truly special it was … a place of radicalism, inclusion and acceptance where anyone could show up and just be their self… As this cultural and economic cleanse sweeps San Francisco, it echoes the rise of income inequality all across the globe and the corporate take over of every aspect of our lives. Somehow I thought San Francisco was different and that we wouldn’t let this happen because of who we are and what we’ve always stood for. ” (Nevermind whether or not that supposition about the real nature of the city is actually true. I recently explored what I called the \u003ca href=\"http://ww2.kqed.org/arts/2014/03/18/priced-out-saying-good-bye-to-the-myth-of-san-francisco/\" target=\"_blank\" rel=\"noopener\">“myth of San Francisco”\u003c/a> in another piece a couple months back.) \u003c/p>\n\u003cp>Roberts began playing the song about town and the rest, as they say, is history. \u003c/p>\n\u003cp>Another musician, Hannah Lew, formerly of Grass Widow, decided to release a compilation album, \u003ci>San Francisco Is Doomed\u003c/i> on her new \u003ca href=\"http://crimeonthemoon.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Crime on the Moon label,\u003c/a> that consists of tracks from local bands and groups that have moved on. The effort is definitely more hard-edged than Roberts’ cabaret and, with contributions by Silver Shadows, Mansion, Thee Oh Sees, Erase Errata, Mikal Cronin and Cold Circuits has a lot more fun with its nihilism. True to its punk/slightly-goth leanings, there is an exuberance found in the darkness of even the most dire situation. \u003c/p>\n\u003cp>Lew \u003ca href=\"http://sfist.com/2014/06/24/is_san_francisco_doomed.php\" target=\"_blank\" rel=\"noopener\">told Sfist\u003c/a> that the division of wealth in the city, especially the “clean up Market Street” campaign made her uneasy. In her opinion, many of these moves are “straight up class war… There’s almost a fascist atheistic to it all. I think it’s really dangerous when there’s a lot of things made for certain people, a certain class. But I mean, all this being said, I can’t live my life on the day-to-day depressed and angry. A big impetus for putting the comp together was to say, yeah, we know it sucks, but let’s just keep doing what we’re doing and making music and put out something positive.”\u003c/p>\n\u003cp>She also noted that the San Francisco music scene had gotten a lot tougher, with less bands playing shows and less people going out for them. We have noticed this at KQED within the last few weeks, with Bay Area tour dates missing from recently announced tours by some pretty big bands, and wondered if something was afoot. (Perhaps more on that later.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The San Jose Repertory Theatre company announced today that it has ceased operations and is filing for bankruptcy. The 34-year-old organization has been struggling with financial issues for a number of years.\u003c/p>\n\u003cp>“We deeply regret having to take this action because of the impact it will have on our 51 employees, the artists we work with each season, our season ticket holders, loyal patrons and generous donors and supporters,” said Holly Walter, president of the San Jose Rep’s board of trustees. “We also regret the impact on the city of San Jose and the local arts community. However, after months of trying to solve our financial issues, reduce our debts and construct a sustainable model for the organization, we felt we had no choice but to take this action.” \u003c/p>\n\u003cp>There were signs that the theatre company could shut down last year, when a 2012 audit was released and showed that the Rep’s financial situation needed to improve, especially after the effects of 2008 recession on its income. The impact of the recession hit the theater when it was still recovering from a brush with insolvency in 2006, which it snapped back from thanks to a $2 million loan from the City of San Jose.\u003c/p>\n\u003cp>After the media reported on the audit, the company shot back at the claims of its financial problems with a \u003ca href=\"http://pitchengine.com/pitches/ae64aa0f-dff7-427b-ae33-92f3c8a68037\" target=\"_blank\" rel=\"noopener\">press release\u003c/a> stating that “The Rep is here to stay!”\u003c/p>\n\u003cp>“The Rep’s trustees are fully confident in our executive leadership’s ability to continue to manage through these difficult times, and has put plans in place to raise the additional funds needed to gain greater long-term fiscal stability,” said the release. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ci>San Jose Mercury News\u003c/i> \u003ca href=\"http://www.mercurynews.com/entertainment/ci_25938149/reports-fly-that-san-jose-rep-is-trouble\" target=\"_blank\" rel=\"noopener\">reported last night\u003c/a> on rumors about the theater’s fate and noted that other South Bay organizations are experiencing similar struggles. \u003c/p>\n\u003cp>“Ballet San Jose has suffered many a fiscal crisis. Shakespeare Santa Cruz went under last year and then managed to come back to life. American Musical Theatre of San Jose perished in 2008,” reported the Mercury News.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We will report back when we learn more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Jose Repertory Theatre company announced today that it has ceased operations and is filing for bankruptcy. The 34-year-old organization has been struggling with financial issues for a number of years.\u003c/p>\n\u003cp>“We deeply regret having to take this action because of the impact it will have on our 51 employees, the artists we work with each season, our season ticket holders, loyal patrons and generous donors and supporters,” said Holly Walter, president of the San Jose Rep’s board of trustees. “We also regret the impact on the city of San Jose and the local arts community. However, after months of trying to solve our financial issues, reduce our debts and construct a sustainable model for the organization, we felt we had no choice but to take this action.” \u003c/p>\n\u003cp>There were signs that the theatre company could shut down last year, when a 2012 audit was released and showed that the Rep’s financial situation needed to improve, especially after the effects of 2008 recession on its income. The impact of the recession hit the theater when it was still recovering from a brush with insolvency in 2006, which it snapped back from thanks to a $2 million loan from the City of San Jose.\u003c/p>\n\u003cp>After the media reported on the audit, the company shot back at the claims of its financial problems with a \u003ca href=\"http://pitchengine.com/pitches/ae64aa0f-dff7-427b-ae33-92f3c8a68037\" target=\"_blank\" rel=\"noopener\">press release\u003c/a> stating that “The Rep is here to stay!”\u003c/p>\n\u003cp>“The Rep’s trustees are fully confident in our executive leadership’s ability to continue to manage through these difficult times, and has put plans in place to raise the additional funds needed to gain greater long-term fiscal stability,” said the release. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ci>San Jose Mercury News\u003c/i> \u003ca href=\"http://www.mercurynews.com/entertainment/ci_25938149/reports-fly-that-san-jose-rep-is-trouble\" target=\"_blank\" rel=\"noopener\">reported last night\u003c/a> on rumors about the theater’s fate and noted that other South Bay organizations are experiencing similar struggles. \u003c/p>\n\u003cp>“Ballet San Jose has suffered many a fiscal crisis. Shakespeare Santa Cruz went under last year and then managed to come back to life. American Musical Theatre of San Jose perished in 2008,” reported the Mercury News.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We will report back when we learn more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The news that Sony Imageworks is headed to Vancouver — taking roughly 300 jobs with it — is just the latest in a string of depressing headlines for Los Angeles visual effects workers. Nearly two dozen VFX firms have closed or gone bankrupt in the last decade. State lawmakers are \u003ca class=\"rssmi_more\" href=\"http://www.californiareport.org/archive/R201406060850/a\" target=\"_self\" rel=\"noopener\"> …read more\u003c/a>\u003c/p>\n\u003cp>Source: \u003ca title=\"Calif. Visual Effects Industry Struggles in Face of Foreign Subsidies\" href=\"http://www.californiareport.org/archive/R201406060850/a\" target=\"_self\" rel=\"noopener\">TCR Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cfigure id=\"attachment_10137258\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch3-400x602.jpg\" alt=\"ARCH art supplies on Potrero Hill\" width=\"400\" height=\"602\" class=\"size-thumbnail wp-image-10137258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch3-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch3-199x300.jpg 199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch3.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">ARCH art supplies on Potrero Hill\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco-based family-owned art supply store ARCH is being evicted from its Potrero Hill location after 13 years, KQED learned Tuesday evening. \u003c/p>\n\u003cp>Artist \u003ca href=\"http://ww2.kqed.org/arts/2014/03/21/meanwhile-in-san-francisco-wendy-macnaughton-illustrates-the-citys-truth/\">Wendy MacNaughton\u003c/a>, who shares the space with ARCH and \u003ca href=\"http://www.birdofvirtue.com/\">Bird of Virtue\u003c/a> (a small jewelry business run by Linnea Oliver), confirmed rumors of her impending eviction on Twitter Tuesday. \u003c/p>\n\u003cp>According to Aaron Gordon, whose family has owned the building for roughly 40 years, the main reason behind the action is to shore up the structure; the family plans to spend over a million dollars on an earthquake retrofit. \u003c/p>\n\u003cp>The news comes on the heels of \u003ca href=\"http://www.thebolditalic.com/articles/4981-flax-moving-to-make-room-for-condos\">last month’s announcement\u003c/a> that FLAX — another locally-owned art supply store — would be vacating its mid-Market street location to make way for condominiums. Combined with displacements at \u003ca href=\"http://ww2.kqed.org/news/2014/04/04/meridian-gallery/\">Meridian Gallery\u003c/a> and \u003ca href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\">77 and 49 Geary\u003c/a>, the announcement delivers yet another jolt in the slow-motion collapse of the Bay Area’s commercial art scene. \u003c/p>\n\u003cp>But the crisis is not limited to for-profit endeavors. On the non-profit front, recent closures at \u003ca href=\"http://ww2.kqed.org/arts/2014/05/22/san-franciscos-intersection-for-the-arts-suspends-programs-lays-off-curators/\">Intersection for the Arts\u003c/a> and Root Division signal an increasing rate of negative change at all levels, not to mention the mass exodus of artists due to skyrocketing rents.\u003c/p>\n\u003cfigure id=\"attachment_10137259\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch2.jpg\" alt=\"Photo by Ganesha Balunsat\" width=\"640\" height=\"587\" class=\"size-full wp-image-10137259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch2-400x366.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch2-300x275.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Ganesha Balunsat\u003c/figcaption>\u003c/figure>\n\u003cp>Susie Colliver, ARCH’s founder and owner, started the business in 1978 when she was just 25 years old. Originally catering to architects in two previous Jackson Square locations, the store started selling art supplies after architects went digital and demand for drafting materials dried up. Facing pressure during the first dot-com boom, ARCH relocated to the store’s current location in 2001. Colliver learned in April that she would need to be out of the building sometime this summer, possibly as soon as July 31, though she is negotiating for an extension to the end of September. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I must admit to being a fan. I live on Potrero Hill and attended graduate school at California College of the Arts, which is located just two blocks away. The secret behind this kind of operation is the staff, which may also be one of the challenges to keeping the doors open. Colliver says that the newest staff member has been at the store for over three years, while four others have been with her for over 20, and they are paid accordingly with full benefits. Their experience is invaluable. I cannot say how often I have gone into ARCH, detailed my latest crackpot scheme, answered a few clarifying questions and then walked away with the right tools for the job. \u003c/p>\n\u003cfigure id=\"attachment_10137264\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch4.jpg\" alt=\"The front desk at ARCH\" width=\"640\" height=\"964\" class=\"size-full wp-image-10137264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch4-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch4-199x300.jpg 199w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The front desk at ARCH\u003c/figcaption>\u003c/figure>\n\u003cp>However, Colliver asks, with the current commercial rental market being what it is, how does such a business survive when the money is made through hundreds of sales of small items — like pencils and single sheets of paper — many priced under a dollar? Some might say that in a modern economy this kind of business is being replaced with online services, but any artist can tell you that there is a tactile quality to the way a pen or a brush moves and that the tooth of a paper can make a huge difference to the end result. \u003c/p>\n\u003cp>It is difficult to compete with businesses that require less space, carry less (or no) stock and can rely on venture capital to fund their rent. \u003c/p>\n\u003cp>“Money means different things to a business specializing in the sale of pieces of paper and pencils and erasers,” says Colliver. Where are the angel investors for art-related businesses, which operate on much smaller profit margins?\u003c/p>\n\u003cfigure id=\"attachment_10137265\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch5.jpg\" alt=\"The paper room at ARCH\" width=\"640\" height=\"964\" class=\"size-full wp-image-10137265\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch5.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch5-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch5-199x300.jpg 199w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The paper room at ARCH\u003c/figcaption>\u003c/figure>\n\u003cp>Tom DeCaigny, the San Francisco Arts Commission’s Director of Cultural Affairs admits that when it comes to assisting small commercial enterprises in the arts, City Hall is behind the curve. The mayor’s office recently released a \u003ca href=\"http://www.sfartscommission.org/artist-resources/\">plan to address the increasingly urgent needs of the local arts community\u003c/a>, but its most developed portion deals with using city funds \u003ci>to aid non-profits\u003c/i> ($2 million has been allocated to help arts organizations deal with rising costs). Additionally, the mayor has allocated $94 million to address the affordable housing crisis, which includes money for artists as well. \u003c/p>\n\u003cp>The third, and least developed — and probably most challenging — part of the equation is commercial, which includes places like ARCH and FLAX. Looking to other cities like London and New York as models, DeCaigny believes the pathway to more stability is through ownership. His office is working with “arts-interested” for-profit developers to identify solutions for places like ARCH and the commercial galleries recently displaced from 49 and 77 Geary, but admits that all the attention paid to the overheated local real estate market only fuels speculation, making available space even more scarce. The city is developing a suite of policy and zoning solutions to incentivize arts development, but will they strike that balance soon enough? \u003c/p>\n\u003cp>On a personal level, DeCaigny says that the FLAX announcement (and now the one from ARCH) stand out for him as real symbols of how dire the situation is for family-owned businesses to survive in the city. I spoke with him over the phone while he was on a break from a meeting discussing just that. “We live in one of the art capitals of the world and we aim to keep it that way,” he said. \u003c/p>\n\u003cp>As for Colliver and ARCH, they are currently exploring the options. “We would love to stay nearby,” says Colliver. “We enjoy being a part of the local arts community.” She hopes that there is someone out there who has space and can recognize that ARCH is more that just a store. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We sell things that people need in order to do creative activity. You can’t have a thriving intellectual community without libraries and bookstores,” says Colliver. “You can’t have a thriving art scene without galleries and art supply stores.” \u003c/p>\n\n",
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"excerpt": "San Francisco-based family-owned art supply store Arch is being evicted from its Potrero Hill location after 13 years, KQED learned Tuesday evening. ",
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"description": "San Francisco-based family-owned art supply store Arch is being evicted from its Potrero Hill location after 13 years, KQED learned Tuesday evening. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10137258\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch3-400x602.jpg\" alt=\"ARCH art supplies on Potrero Hill\" width=\"400\" height=\"602\" class=\"size-thumbnail wp-image-10137258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch3-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch3-199x300.jpg 199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch3.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">ARCH art supplies on Potrero Hill\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco-based family-owned art supply store ARCH is being evicted from its Potrero Hill location after 13 years, KQED learned Tuesday evening. \u003c/p>\n\u003cp>Artist \u003ca href=\"http://ww2.kqed.org/arts/2014/03/21/meanwhile-in-san-francisco-wendy-macnaughton-illustrates-the-citys-truth/\">Wendy MacNaughton\u003c/a>, who shares the space with ARCH and \u003ca href=\"http://www.birdofvirtue.com/\">Bird of Virtue\u003c/a> (a small jewelry business run by Linnea Oliver), confirmed rumors of her impending eviction on Twitter Tuesday. \u003c/p>\n\u003cp>According to Aaron Gordon, whose family has owned the building for roughly 40 years, the main reason behind the action is to shore up the structure; the family plans to spend over a million dollars on an earthquake retrofit. \u003c/p>\n\u003cp>The news comes on the heels of \u003ca href=\"http://www.thebolditalic.com/articles/4981-flax-moving-to-make-room-for-condos\">last month’s announcement\u003c/a> that FLAX — another locally-owned art supply store — would be vacating its mid-Market street location to make way for condominiums. Combined with displacements at \u003ca href=\"http://ww2.kqed.org/news/2014/04/04/meridian-gallery/\">Meridian Gallery\u003c/a> and \u003ca href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\">77 and 49 Geary\u003c/a>, the announcement delivers yet another jolt in the slow-motion collapse of the Bay Area’s commercial art scene. \u003c/p>\n\u003cp>But the crisis is not limited to for-profit endeavors. On the non-profit front, recent closures at \u003ca href=\"http://ww2.kqed.org/arts/2014/05/22/san-franciscos-intersection-for-the-arts-suspends-programs-lays-off-curators/\">Intersection for the Arts\u003c/a> and Root Division signal an increasing rate of negative change at all levels, not to mention the mass exodus of artists due to skyrocketing rents.\u003c/p>\n\u003cfigure id=\"attachment_10137259\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch2.jpg\" alt=\"Photo by Ganesha Balunsat\" width=\"640\" height=\"587\" class=\"size-full wp-image-10137259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch2-400x366.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch2-300x275.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Ganesha Balunsat\u003c/figcaption>\u003c/figure>\n\u003cp>Susie Colliver, ARCH’s founder and owner, started the business in 1978 when she was just 25 years old. Originally catering to architects in two previous Jackson Square locations, the store started selling art supplies after architects went digital and demand for drafting materials dried up. Facing pressure during the first dot-com boom, ARCH relocated to the store’s current location in 2001. Colliver learned in April that she would need to be out of the building sometime this summer, possibly as soon as July 31, though she is negotiating for an extension to the end of September. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I must admit to being a fan. I live on Potrero Hill and attended graduate school at California College of the Arts, which is located just two blocks away. The secret behind this kind of operation is the staff, which may also be one of the challenges to keeping the doors open. Colliver says that the newest staff member has been at the store for over three years, while four others have been with her for over 20, and they are paid accordingly with full benefits. Their experience is invaluable. I cannot say how often I have gone into ARCH, detailed my latest crackpot scheme, answered a few clarifying questions and then walked away with the right tools for the job. \u003c/p>\n\u003cfigure id=\"attachment_10137264\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch4.jpg\" alt=\"The front desk at ARCH\" width=\"640\" height=\"964\" class=\"size-full wp-image-10137264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch4-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch4-199x300.jpg 199w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The front desk at ARCH\u003c/figcaption>\u003c/figure>\n\u003cp>However, Colliver asks, with the current commercial rental market being what it is, how does such a business survive when the money is made through hundreds of sales of small items — like pencils and single sheets of paper — many priced under a dollar? Some might say that in a modern economy this kind of business is being replaced with online services, but any artist can tell you that there is a tactile quality to the way a pen or a brush moves and that the tooth of a paper can make a huge difference to the end result. \u003c/p>\n\u003cp>It is difficult to compete with businesses that require less space, carry less (or no) stock and can rely on venture capital to fund their rent. \u003c/p>\n\u003cp>“Money means different things to a business specializing in the sale of pieces of paper and pencils and erasers,” says Colliver. Where are the angel investors for art-related businesses, which operate on much smaller profit margins?\u003c/p>\n\u003cfigure id=\"attachment_10137265\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch5.jpg\" alt=\"The paper room at ARCH\" width=\"640\" height=\"964\" class=\"size-full wp-image-10137265\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch5.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch5-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch5-199x300.jpg 199w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The paper room at ARCH\u003c/figcaption>\u003c/figure>\n\u003cp>Tom DeCaigny, the San Francisco Arts Commission’s Director of Cultural Affairs admits that when it comes to assisting small commercial enterprises in the arts, City Hall is behind the curve. The mayor’s office recently released a \u003ca href=\"http://www.sfartscommission.org/artist-resources/\">plan to address the increasingly urgent needs of the local arts community\u003c/a>, but its most developed portion deals with using city funds \u003ci>to aid non-profits\u003c/i> ($2 million has been allocated to help arts organizations deal with rising costs). Additionally, the mayor has allocated $94 million to address the affordable housing crisis, which includes money for artists as well. \u003c/p>\n\u003cp>The third, and least developed — and probably most challenging — part of the equation is commercial, which includes places like ARCH and FLAX. Looking to other cities like London and New York as models, DeCaigny believes the pathway to more stability is through ownership. His office is working with “arts-interested” for-profit developers to identify solutions for places like ARCH and the commercial galleries recently displaced from 49 and 77 Geary, but admits that all the attention paid to the overheated local real estate market only fuels speculation, making available space even more scarce. The city is developing a suite of policy and zoning solutions to incentivize arts development, but will they strike that balance soon enough? \u003c/p>\n\u003cp>On a personal level, DeCaigny says that the FLAX announcement (and now the one from ARCH) stand out for him as real symbols of how dire the situation is for family-owned businesses to survive in the city. I spoke with him over the phone while he was on a break from a meeting discussing just that. “We live in one of the art capitals of the world and we aim to keep it that way,” he said. \u003c/p>\n\u003cp>As for Colliver and ARCH, they are currently exploring the options. “We would love to stay nearby,” says Colliver. “We enjoy being a part of the local arts community.” She hopes that there is someone out there who has space and can recognize that ARCH is more that just a store. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We sell things that people need in order to do creative activity. You can’t have a thriving intellectual community without libraries and bookstores,” says Colliver. “You can’t have a thriving art scene without galleries and art supply stores.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "San Jose Skate Closes Saturday, Leaving Decades of Memories Behind",
"title": "San Jose Skate Closes Saturday, Leaving Decades of Memories Behind",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>\u003cstrong>By Samantha Clark\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_137500\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/8111794267_a67ca672f0_b.jpg\">\u003cimg class=\"size-medium wp-image-137500\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/8111794267_a67ca672f0_b-640x395.jpg\" alt=\"The Silicon Valley Rollergirls play BADG Berkeley Resistance. (Mark Nockleby/Flickr)\" width=\"640\" height=\"395\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Silicon Valley Roller Girls play BADG Berkeley Resistance. (Mark Nockleby/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>San Jose Skate smells like nacho cheese, plus decades of sweat sealed into the leather of its roller skates and the peeling carpet. “There’s that smell,” someone said as he walked through the doors. Still, the place is cool, with arcade games, rattan '70s-era lamps and a disco ball.\u003c/p>\n\u003cp>But San Jose Skate on Blossom Hill is closing the doors Saturday, and people want to say goodbye. One woman walked her husband to the rink blindfolded for a surprise date at their old hangout.\u003c/p>\n\u003cp>It is the first place Sam Carrington could go without parents. She and about 20 friends held a reunion at the rink.\u003c/p>\n\u003cp>“What happened inside these walls, stayed inside these walls,” Carrington said. “At San Jose Skate, it was the first time my lips touched someone else’s for the purpose of romance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carrington also met her first boyfriend and then her first girlfriend at San Jose Skate.\u003c/p>\n\u003cp>The rink opened as Aloha Roller Palace in 1977, and since then it has hosted countless birthday parties and skating lessons. Now it’s slated for redevelopment as a retail space, said Don Imwalle, president of local developer Imwalle Properties.\u003c/p>\n\u003cp>\"The bottom line is that there are just not a lot of people roller-skating,” he said. “While there are some passionate groups, there are not enough people who are patronizing the business to make it any way viable.”\u003c/p>\n\u003cp>For skating groups, the loss of a rink leaves them without a home.\u003c/p>\n\u003cp>Ten-year-old Sayer McDonald is a competitive inline skater on the \u003ca href=\"https://www.facebook.com/pages/Milpitas-Speed-Team/183193556230\">Milpitas Speed Team\u003c/a>. Her mother drove her to south San Jose three days a week for practice. The team’s old rink was demolished for housing, and now Sayer will have to practice outside.\u003c/p>\n\u003cp>“The wind blows, and there can be dog droppings,” she said.\u003c/p>\n\u003cp>San Jose Skate has also been home to \u003ca href=\"http://svrollergirls.com/\">the Silicon Valley Roller Girls\u003c/a> for seven years, which is raising $20,000 to secure a new space. The leagues are saying aloha to the rink by competing in a doubleheader on Saturday. The Silicon Valley Killabytes will take on the \u003ca href=\"https://www.facebook.com/FaultlineDerbyDollz\">Faultline Derby Devilz\u003c/a> from Hollister, and the Silicon Valley Dot.Kamikazes will play the \u003ca href=\"http://www.bayareaderbygirls.com/teams/berkeley-resistance\">Bay Area Berkeley Resistance\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Underground Rock Scene\u003c/strong>\u003c/p>\n\u003cp>In the mid-2000s, San Jose Skate was also home to the underground music scene. Local bands and big bands played metal and hard-core rock loudly, often featuring lots of blood-curdling, and unintelligible, screaming. However, when San Jose Skate stopped hosting shows in 2008, the scene died.\u003c/p>\n\u003cfigure id=\"attachment_137685\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/photo-4.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/photo-4-300x300.jpg\" alt=\"Andrew Tucker and Matt Mrizek of North of the Woods play at San Jose Skate one last time. (Samantha Clark/KQED)\" width=\"300\" height=\"300\" class=\"size-thumbnail wp-image-137685\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrew Tucker and Matt Mrizek of North of the Woods play at San Jose Skate one last time. (Samantha Clark/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>High school students and 20-somethings came to hear music at the rink Friday and Saturday nights dressed in black and skinny jeans. They swung their arms in mosh pits, and the neighbors called the cops.\u003c/p>\n\u003cp>“If I told my parents I was going to a metal show, they would say, ‘No you’re not,’ ” said Andrew Tucker who went to the shows when he was in high school. “I could just say I’m going to the roller rink.”\u003c/p>\n\u003cp>That crowd is now grown up. Tucker teaches a freshman writing course at San Jose State, where he is also working toward his MFA in creative writing.\u003c/p>\n\u003cp>He and hundreds of folks from the scene showed up to the rink this weekend for a farewell concert series featuring 17 out of 19 bands that reunited just to play one last time at the venue. Some bands even flew in members from other states to practice, and many practiced daily in the week leading up to San Jose Skate’s last breakdown.\u003c/p>\n\u003cp>San Jose Skate got them to pick up their guitars and drumsticks again. Tucker’s band, \u003ca href=\"https://www.facebook.com/pages/North-of-the-Woods/147807758622609\">North of the Woods\u003c/a>, said that even though the shows now are over, they want to keep playing music.\u003c/p>\n\u003cp>“We haven’t played together in four years,” said Matt Mrizek, a guitarist in the band. “The show kind of kick-started us to get back in the swing of things.”\u003c/p>\n\u003cp>Andrew Kutsenda, a former general manager, used to organize the shows. Now he runs his own online marketing company. But when he heard about San Jose Skate’s sale, he messaged all the bands and booked the lineup the next day.\u003c/p>\n\u003cp>“It’s a place that we’ll talk about for the rest of our lives. A lot of people won’t understand it, a lot of people won’t get it, but what we had here was sacred, too,” Kutsenda said. “We hear crazy stories about guys who, like I said earlier, picked up their first guitar because of a band or like, met their now-wife at San Jose Skate. We’ve heard crazy, crazy stories like that, and it just became ingrained with who we all were.”\u003c/p>\n\u003cp>Kutsenda said that it was important to send off the rink with a proper farewell after being such a part of their adolescence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s sad because San Jose Skate’s closing is like the last nail in the scene’s coffin,” Tucker said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Samantha Clark\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_137500\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/8111794267_a67ca672f0_b.jpg\">\u003cimg class=\"size-medium wp-image-137500\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/8111794267_a67ca672f0_b-640x395.jpg\" alt=\"The Silicon Valley Rollergirls play BADG Berkeley Resistance. (Mark Nockleby/Flickr)\" width=\"640\" height=\"395\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Silicon Valley Roller Girls play BADG Berkeley Resistance. (Mark Nockleby/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>San Jose Skate smells like nacho cheese, plus decades of sweat sealed into the leather of its roller skates and the peeling carpet. “There’s that smell,” someone said as he walked through the doors. Still, the place is cool, with arcade games, rattan '70s-era lamps and a disco ball.\u003c/p>\n\u003cp>But San Jose Skate on Blossom Hill is closing the doors Saturday, and people want to say goodbye. One woman walked her husband to the rink blindfolded for a surprise date at their old hangout.\u003c/p>\n\u003cp>It is the first place Sam Carrington could go without parents. She and about 20 friends held a reunion at the rink.\u003c/p>\n\u003cp>“What happened inside these walls, stayed inside these walls,” Carrington said. “At San Jose Skate, it was the first time my lips touched someone else’s for the purpose of romance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carrington also met her first boyfriend and then her first girlfriend at San Jose Skate.\u003c/p>\n\u003cp>The rink opened as Aloha Roller Palace in 1977, and since then it has hosted countless birthday parties and skating lessons. Now it’s slated for redevelopment as a retail space, said Don Imwalle, president of local developer Imwalle Properties.\u003c/p>\n\u003cp>\"The bottom line is that there are just not a lot of people roller-skating,” he said. “While there are some passionate groups, there are not enough people who are patronizing the business to make it any way viable.”\u003c/p>\n\u003cp>For skating groups, the loss of a rink leaves them without a home.\u003c/p>\n\u003cp>Ten-year-old Sayer McDonald is a competitive inline skater on the \u003ca href=\"https://www.facebook.com/pages/Milpitas-Speed-Team/183193556230\">Milpitas Speed Team\u003c/a>. Her mother drove her to south San Jose three days a week for practice. The team’s old rink was demolished for housing, and now Sayer will have to practice outside.\u003c/p>\n\u003cp>“The wind blows, and there can be dog droppings,” she said.\u003c/p>\n\u003cp>San Jose Skate has also been home to \u003ca href=\"http://svrollergirls.com/\">the Silicon Valley Roller Girls\u003c/a> for seven years, which is raising $20,000 to secure a new space. The leagues are saying aloha to the rink by competing in a doubleheader on Saturday. The Silicon Valley Killabytes will take on the \u003ca href=\"https://www.facebook.com/FaultlineDerbyDollz\">Faultline Derby Devilz\u003c/a> from Hollister, and the Silicon Valley Dot.Kamikazes will play the \u003ca href=\"http://www.bayareaderbygirls.com/teams/berkeley-resistance\">Bay Area Berkeley Resistance\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Underground Rock Scene\u003c/strong>\u003c/p>\n\u003cp>In the mid-2000s, San Jose Skate was also home to the underground music scene. Local bands and big bands played metal and hard-core rock loudly, often featuring lots of blood-curdling, and unintelligible, screaming. However, when San Jose Skate stopped hosting shows in 2008, the scene died.\u003c/p>\n\u003cfigure id=\"attachment_137685\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/photo-4.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/photo-4-300x300.jpg\" alt=\"Andrew Tucker and Matt Mrizek of North of the Woods play at San Jose Skate one last time. (Samantha Clark/KQED)\" width=\"300\" height=\"300\" class=\"size-thumbnail wp-image-137685\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrew Tucker and Matt Mrizek of North of the Woods play at San Jose Skate one last time. (Samantha Clark/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>High school students and 20-somethings came to hear music at the rink Friday and Saturday nights dressed in black and skinny jeans. They swung their arms in mosh pits, and the neighbors called the cops.\u003c/p>\n\u003cp>“If I told my parents I was going to a metal show, they would say, ‘No you’re not,’ ” said Andrew Tucker who went to the shows when he was in high school. “I could just say I’m going to the roller rink.”\u003c/p>\n\u003cp>That crowd is now grown up. Tucker teaches a freshman writing course at San Jose State, where he is also working toward his MFA in creative writing.\u003c/p>\n\u003cp>He and hundreds of folks from the scene showed up to the rink this weekend for a farewell concert series featuring 17 out of 19 bands that reunited just to play one last time at the venue. Some bands even flew in members from other states to practice, and many practiced daily in the week leading up to San Jose Skate’s last breakdown.\u003c/p>\n\u003cp>San Jose Skate got them to pick up their guitars and drumsticks again. Tucker’s band, \u003ca href=\"https://www.facebook.com/pages/North-of-the-Woods/147807758622609\">North of the Woods\u003c/a>, said that even though the shows now are over, they want to keep playing music.\u003c/p>\n\u003cp>“We haven’t played together in four years,” said Matt Mrizek, a guitarist in the band. “The show kind of kick-started us to get back in the swing of things.”\u003c/p>\n\u003cp>Andrew Kutsenda, a former general manager, used to organize the shows. Now he runs his own online marketing company. But when he heard about San Jose Skate’s sale, he messaged all the bands and booked the lineup the next day.\u003c/p>\n\u003cp>“It’s a place that we’ll talk about for the rest of our lives. A lot of people won’t understand it, a lot of people won’t get it, but what we had here was sacred, too,” Kutsenda said. “We hear crazy stories about guys who, like I said earlier, picked up their first guitar because of a band or like, met their now-wife at San Jose Skate. We’ve heard crazy, crazy stories like that, and it just became ingrained with who we all were.”\u003c/p>\n\u003cp>Kutsenda said that it was important to send off the rink with a proper farewell after being such a part of their adolescence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s sad because San Jose Skate’s closing is like the last nail in the scene’s coffin,” Tucker said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
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