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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": "\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": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The news that Sony Imageworks is headed to Vancouver — taking roughly 300 jobs with it — is just the latest in a string of depressing headlines for Los Angeles visual effects workers. Nearly two dozen VFX firms have closed or gone bankrupt in the last decade. State lawmakers are \u003ca class=\"rssmi_more\" href=\"http://www.californiareport.org/archive/R201406060850/a\" target=\"_self\" rel=\"noopener\"> …read more\u003c/a>\u003c/p>\n\u003cp>Source: \u003ca title=\"Calif. Visual Effects Industry Struggles in Face of Foreign Subsidies\" href=\"http://www.californiareport.org/archive/R201406060850/a\" target=\"_self\" rel=\"noopener\">TCR Arts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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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"headline": "Potrero Hill Art Supply Store ARCH Gets Eviction Notice",
"datePublished": "2014-06-05T06:00:08-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10137258\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch3-400x602.jpg\" alt=\"ARCH art supplies on Potrero Hill\" width=\"400\" height=\"602\" class=\"size-thumbnail wp-image-10137258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch3-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch3-199x300.jpg 199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch3.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">ARCH art supplies on Potrero Hill\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco-based family-owned art supply store ARCH is being evicted from its Potrero Hill location after 13 years, KQED learned Tuesday evening. \u003c/p>\n\u003cp>Artist \u003ca href=\"http://ww2.kqed.org/arts/2014/03/21/meanwhile-in-san-francisco-wendy-macnaughton-illustrates-the-citys-truth/\">Wendy MacNaughton\u003c/a>, who shares the space with ARCH and \u003ca href=\"http://www.birdofvirtue.com/\">Bird of Virtue\u003c/a> (a small jewelry business run by Linnea Oliver), confirmed rumors of her impending eviction on Twitter Tuesday. \u003c/p>\n\u003cp>According to Aaron Gordon, whose family has owned the building for roughly 40 years, the main reason behind the action is to shore up the structure; the family plans to spend over a million dollars on an earthquake retrofit. \u003c/p>\n\u003cp>The news comes on the heels of \u003ca href=\"http://www.thebolditalic.com/articles/4981-flax-moving-to-make-room-for-condos\">last month’s announcement\u003c/a> that FLAX — another locally-owned art supply store — would be vacating its mid-Market street location to make way for condominiums. Combined with displacements at \u003ca href=\"http://ww2.kqed.org/news/2014/04/04/meridian-gallery/\">Meridian Gallery\u003c/a> and \u003ca href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\">77 and 49 Geary\u003c/a>, the announcement delivers yet another jolt in the slow-motion collapse of the Bay Area’s commercial art scene. \u003c/p>\n\u003cp>But the crisis is not limited to for-profit endeavors. On the non-profit front, recent closures at \u003ca href=\"http://ww2.kqed.org/arts/2014/05/22/san-franciscos-intersection-for-the-arts-suspends-programs-lays-off-curators/\">Intersection for the Arts\u003c/a> and Root Division signal an increasing rate of negative change at all levels, not to mention the mass exodus of artists due to skyrocketing rents.\u003c/p>\n\u003cfigure id=\"attachment_10137259\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch2.jpg\" alt=\"Photo by Ganesha Balunsat\" width=\"640\" height=\"587\" class=\"size-full wp-image-10137259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch2-400x366.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch2-300x275.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Ganesha Balunsat\u003c/figcaption>\u003c/figure>\n\u003cp>Susie Colliver, ARCH’s founder and owner, started the business in 1978 when she was just 25 years old. Originally catering to architects in two previous Jackson Square locations, the store started selling art supplies after architects went digital and demand for drafting materials dried up. Facing pressure during the first dot-com boom, ARCH relocated to the store’s current location in 2001. Colliver learned in April that she would need to be out of the building sometime this summer, possibly as soon as July 31, though she is negotiating for an extension to the end of September. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I must admit to being a fan. I live on Potrero Hill and attended graduate school at California College of the Arts, which is located just two blocks away. The secret behind this kind of operation is the staff, which may also be one of the challenges to keeping the doors open. Colliver says that the newest staff member has been at the store for over three years, while four others have been with her for over 20, and they are paid accordingly with full benefits. Their experience is invaluable. I cannot say how often I have gone into ARCH, detailed my latest crackpot scheme, answered a few clarifying questions and then walked away with the right tools for the job. \u003c/p>\n\u003cfigure id=\"attachment_10137264\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch4.jpg\" alt=\"The front desk at ARCH\" width=\"640\" height=\"964\" class=\"size-full wp-image-10137264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch4-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch4-199x300.jpg 199w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The front desk at ARCH\u003c/figcaption>\u003c/figure>\n\u003cp>However, Colliver asks, with the current commercial rental market being what it is, how does such a business survive when the money is made through hundreds of sales of small items — like pencils and single sheets of paper — many priced under a dollar? Some might say that in a modern economy this kind of business is being replaced with online services, but any artist can tell you that there is a tactile quality to the way a pen or a brush moves and that the tooth of a paper can make a huge difference to the end result. \u003c/p>\n\u003cp>It is difficult to compete with businesses that require less space, carry less (or no) stock and can rely on venture capital to fund their rent. \u003c/p>\n\u003cp>“Money means different things to a business specializing in the sale of pieces of paper and pencils and erasers,” says Colliver. Where are the angel investors for art-related businesses, which operate on much smaller profit margins?\u003c/p>\n\u003cfigure id=\"attachment_10137265\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arch5.jpg\" alt=\"The paper room at ARCH\" width=\"640\" height=\"964\" class=\"size-full wp-image-10137265\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch5.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch5-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arch5-199x300.jpg 199w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The paper room at ARCH\u003c/figcaption>\u003c/figure>\n\u003cp>Tom DeCaigny, the San Francisco Arts Commission’s Director of Cultural Affairs admits that when it comes to assisting small commercial enterprises in the arts, City Hall is behind the curve. The mayor’s office recently released a \u003ca href=\"http://www.sfartscommission.org/artist-resources/\">plan to address the increasingly urgent needs of the local arts community\u003c/a>, but its most developed portion deals with using city funds \u003ci>to aid non-profits\u003c/i> ($2 million has been allocated to help arts organizations deal with rising costs). Additionally, the mayor has allocated $94 million to address the affordable housing crisis, which includes money for artists as well. \u003c/p>\n\u003cp>The third, and least developed — and probably most challenging — part of the equation is commercial, which includes places like ARCH and FLAX. Looking to other cities like London and New York as models, DeCaigny believes the pathway to more stability is through ownership. His office is working with “arts-interested” for-profit developers to identify solutions for places like ARCH and the commercial galleries recently displaced from 49 and 77 Geary, but admits that all the attention paid to the overheated local real estate market only fuels speculation, making available space even more scarce. The city is developing a suite of policy and zoning solutions to incentivize arts development, but will they strike that balance soon enough? \u003c/p>\n\u003cp>On a personal level, DeCaigny says that the FLAX announcement (and now the one from ARCH) stand out for him as real symbols of how dire the situation is for family-owned businesses to survive in the city. I spoke with him over the phone while he was on a break from a meeting discussing just that. “We live in one of the art capitals of the world and we aim to keep it that way,” he said. \u003c/p>\n\u003cp>As for Colliver and ARCH, they are currently exploring the options. “We would love to stay nearby,” says Colliver. “We enjoy being a part of the local arts community.” She hopes that there is someone out there who has space and can recognize that ARCH is more that just a store. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We sell things that people need in order to do creative activity. You can’t have a thriving intellectual community without libraries and bookstores,” says Colliver. “You can’t have a thriving art scene without galleries and art supply stores.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "San Jose Skate Closes Saturday, Leaving Decades of Memories Behind",
"title": "San Jose Skate Closes Saturday, Leaving Decades of Memories Behind",
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"content": "\u003cp>\u003cstrong>By Samantha Clark\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_137500\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/8111794267_a67ca672f0_b.jpg\">\u003cimg class=\"size-medium wp-image-137500\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/8111794267_a67ca672f0_b-640x395.jpg\" alt=\"The Silicon Valley Rollergirls play BADG Berkeley Resistance. (Mark Nockleby/Flickr)\" width=\"640\" height=\"395\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Silicon Valley Roller Girls play BADG Berkeley Resistance. (Mark Nockleby/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>San Jose Skate smells like nacho cheese, plus decades of sweat sealed into the leather of its roller skates and the peeling carpet. “There’s that smell,” someone said as he walked through the doors. Still, the place is cool, with arcade games, rattan '70s-era lamps and a disco ball.\u003c/p>\n\u003cp>But San Jose Skate on Blossom Hill is closing the doors Saturday, and people want to say goodbye. One woman walked her husband to the rink blindfolded for a surprise date at their old hangout.\u003c/p>\n\u003cp>It is the first place Sam Carrington could go without parents. She and about 20 friends held a reunion at the rink.\u003c/p>\n\u003cp>“What happened inside these walls, stayed inside these walls,” Carrington said. “At San Jose Skate, it was the first time my lips touched someone else’s for the purpose of romance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carrington also met her first boyfriend and then her first girlfriend at San Jose Skate.\u003c/p>\n\u003cp>The rink opened as Aloha Roller Palace in 1977, and since then it has hosted countless birthday parties and skating lessons. Now it’s slated for redevelopment as a retail space, said Don Imwalle, president of local developer Imwalle Properties.\u003c/p>\n\u003cp>\"The bottom line is that there are just not a lot of people roller-skating,” he said. “While there are some passionate groups, there are not enough people who are patronizing the business to make it any way viable.”\u003c/p>\n\u003cp>For skating groups, the loss of a rink leaves them without a home.\u003c/p>\n\u003cp>Ten-year-old Sayer McDonald is a competitive inline skater on the \u003ca href=\"https://www.facebook.com/pages/Milpitas-Speed-Team/183193556230\">Milpitas Speed Team\u003c/a>. Her mother drove her to south San Jose three days a week for practice. The team’s old rink was demolished for housing, and now Sayer will have to practice outside.\u003c/p>\n\u003cp>“The wind blows, and there can be dog droppings,” she said.\u003c/p>\n\u003cp>San Jose Skate has also been home to \u003ca href=\"http://svrollergirls.com/\">the Silicon Valley Roller Girls\u003c/a> for seven years, which is raising $20,000 to secure a new space. The leagues are saying aloha to the rink by competing in a doubleheader on Saturday. The Silicon Valley Killabytes will take on the \u003ca href=\"https://www.facebook.com/FaultlineDerbyDollz\">Faultline Derby Devilz\u003c/a> from Hollister, and the Silicon Valley Dot.Kamikazes will play the \u003ca href=\"http://www.bayareaderbygirls.com/teams/berkeley-resistance\">Bay Area Berkeley Resistance\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Underground Rock Scene\u003c/strong>\u003c/p>\n\u003cp>In the mid-2000s, San Jose Skate was also home to the underground music scene. Local bands and big bands played metal and hard-core rock loudly, often featuring lots of blood-curdling, and unintelligible, screaming. However, when San Jose Skate stopped hosting shows in 2008, the scene died.\u003c/p>\n\u003cfigure id=\"attachment_137685\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/photo-4.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/photo-4-300x300.jpg\" alt=\"Andrew Tucker and Matt Mrizek of North of the Woods play at San Jose Skate one last time. (Samantha Clark/KQED)\" width=\"300\" height=\"300\" class=\"size-thumbnail wp-image-137685\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrew Tucker and Matt Mrizek of North of the Woods play at San Jose Skate one last time. (Samantha Clark/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>High school students and 20-somethings came to hear music at the rink Friday and Saturday nights dressed in black and skinny jeans. They swung their arms in mosh pits, and the neighbors called the cops.\u003c/p>\n\u003cp>“If I told my parents I was going to a metal show, they would say, ‘No you’re not,’ ” said Andrew Tucker who went to the shows when he was in high school. “I could just say I’m going to the roller rink.”\u003c/p>\n\u003cp>That crowd is now grown up. Tucker teaches a freshman writing course at San Jose State, where he is also working toward his MFA in creative writing.\u003c/p>\n\u003cp>He and hundreds of folks from the scene showed up to the rink this weekend for a farewell concert series featuring 17 out of 19 bands that reunited just to play one last time at the venue. Some bands even flew in members from other states to practice, and many practiced daily in the week leading up to San Jose Skate’s last breakdown.\u003c/p>\n\u003cp>San Jose Skate got them to pick up their guitars and drumsticks again. Tucker’s band, \u003ca href=\"https://www.facebook.com/pages/North-of-the-Woods/147807758622609\">North of the Woods\u003c/a>, said that even though the shows now are over, they want to keep playing music.\u003c/p>\n\u003cp>“We haven’t played together in four years,” said Matt Mrizek, a guitarist in the band. “The show kind of kick-started us to get back in the swing of things.”\u003c/p>\n\u003cp>Andrew Kutsenda, a former general manager, used to organize the shows. Now he runs his own online marketing company. But when he heard about San Jose Skate’s sale, he messaged all the bands and booked the lineup the next day.\u003c/p>\n\u003cp>“It’s a place that we’ll talk about for the rest of our lives. A lot of people won’t understand it, a lot of people won’t get it, but what we had here was sacred, too,” Kutsenda said. “We hear crazy stories about guys who, like I said earlier, picked up their first guitar because of a band or like, met their now-wife at San Jose Skate. We’ve heard crazy, crazy stories like that, and it just became ingrained with who we all were.”\u003c/p>\n\u003cp>Kutsenda said that it was important to send off the rink with a proper farewell after being such a part of their adolescence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s sad because San Jose Skate’s closing is like the last nail in the scene’s coffin,” Tucker said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Samantha Clark\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_137500\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/8111794267_a67ca672f0_b.jpg\">\u003cimg class=\"size-medium wp-image-137500\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/8111794267_a67ca672f0_b-640x395.jpg\" alt=\"The Silicon Valley Rollergirls play BADG Berkeley Resistance. (Mark Nockleby/Flickr)\" width=\"640\" height=\"395\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Silicon Valley Roller Girls play BADG Berkeley Resistance. (Mark Nockleby/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>San Jose Skate smells like nacho cheese, plus decades of sweat sealed into the leather of its roller skates and the peeling carpet. “There’s that smell,” someone said as he walked through the doors. Still, the place is cool, with arcade games, rattan '70s-era lamps and a disco ball.\u003c/p>\n\u003cp>But San Jose Skate on Blossom Hill is closing the doors Saturday, and people want to say goodbye. One woman walked her husband to the rink blindfolded for a surprise date at their old hangout.\u003c/p>\n\u003cp>It is the first place Sam Carrington could go without parents. She and about 20 friends held a reunion at the rink.\u003c/p>\n\u003cp>“What happened inside these walls, stayed inside these walls,” Carrington said. “At San Jose Skate, it was the first time my lips touched someone else’s for the purpose of romance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carrington also met her first boyfriend and then her first girlfriend at San Jose Skate.\u003c/p>\n\u003cp>The rink opened as Aloha Roller Palace in 1977, and since then it has hosted countless birthday parties and skating lessons. Now it’s slated for redevelopment as a retail space, said Don Imwalle, president of local developer Imwalle Properties.\u003c/p>\n\u003cp>\"The bottom line is that there are just not a lot of people roller-skating,” he said. “While there are some passionate groups, there are not enough people who are patronizing the business to make it any way viable.”\u003c/p>\n\u003cp>For skating groups, the loss of a rink leaves them without a home.\u003c/p>\n\u003cp>Ten-year-old Sayer McDonald is a competitive inline skater on the \u003ca href=\"https://www.facebook.com/pages/Milpitas-Speed-Team/183193556230\">Milpitas Speed Team\u003c/a>. Her mother drove her to south San Jose three days a week for practice. The team’s old rink was demolished for housing, and now Sayer will have to practice outside.\u003c/p>\n\u003cp>“The wind blows, and there can be dog droppings,” she said.\u003c/p>\n\u003cp>San Jose Skate has also been home to \u003ca href=\"http://svrollergirls.com/\">the Silicon Valley Roller Girls\u003c/a> for seven years, which is raising $20,000 to secure a new space. The leagues are saying aloha to the rink by competing in a doubleheader on Saturday. The Silicon Valley Killabytes will take on the \u003ca href=\"https://www.facebook.com/FaultlineDerbyDollz\">Faultline Derby Devilz\u003c/a> from Hollister, and the Silicon Valley Dot.Kamikazes will play the \u003ca href=\"http://www.bayareaderbygirls.com/teams/berkeley-resistance\">Bay Area Berkeley Resistance\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Underground Rock Scene\u003c/strong>\u003c/p>\n\u003cp>In the mid-2000s, San Jose Skate was also home to the underground music scene. Local bands and big bands played metal and hard-core rock loudly, often featuring lots of blood-curdling, and unintelligible, screaming. However, when San Jose Skate stopped hosting shows in 2008, the scene died.\u003c/p>\n\u003cfigure id=\"attachment_137685\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/photo-4.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/photo-4-300x300.jpg\" alt=\"Andrew Tucker and Matt Mrizek of North of the Woods play at San Jose Skate one last time. (Samantha Clark/KQED)\" width=\"300\" height=\"300\" class=\"size-thumbnail wp-image-137685\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrew Tucker and Matt Mrizek of North of the Woods play at San Jose Skate one last time. (Samantha Clark/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>High school students and 20-somethings came to hear music at the rink Friday and Saturday nights dressed in black and skinny jeans. They swung their arms in mosh pits, and the neighbors called the cops.\u003c/p>\n\u003cp>“If I told my parents I was going to a metal show, they would say, ‘No you’re not,’ ” said Andrew Tucker who went to the shows when he was in high school. “I could just say I’m going to the roller rink.”\u003c/p>\n\u003cp>That crowd is now grown up. Tucker teaches a freshman writing course at San Jose State, where he is also working toward his MFA in creative writing.\u003c/p>\n\u003cp>He and hundreds of folks from the scene showed up to the rink this weekend for a farewell concert series featuring 17 out of 19 bands that reunited just to play one last time at the venue. Some bands even flew in members from other states to practice, and many practiced daily in the week leading up to San Jose Skate’s last breakdown.\u003c/p>\n\u003cp>San Jose Skate got them to pick up their guitars and drumsticks again. Tucker’s band, \u003ca href=\"https://www.facebook.com/pages/North-of-the-Woods/147807758622609\">North of the Woods\u003c/a>, said that even though the shows now are over, they want to keep playing music.\u003c/p>\n\u003cp>“We haven’t played together in four years,” said Matt Mrizek, a guitarist in the band. “The show kind of kick-started us to get back in the swing of things.”\u003c/p>\n\u003cp>Andrew Kutsenda, a former general manager, used to organize the shows. Now he runs his own online marketing company. But when he heard about San Jose Skate’s sale, he messaged all the bands and booked the lineup the next day.\u003c/p>\n\u003cp>“It’s a place that we’ll talk about for the rest of our lives. A lot of people won’t understand it, a lot of people won’t get it, but what we had here was sacred, too,” Kutsenda said. “We hear crazy stories about guys who, like I said earlier, picked up their first guitar because of a band or like, met their now-wife at San Jose Skate. We’ve heard crazy, crazy stories like that, and it just became ingrained with who we all were.”\u003c/p>\n\u003cp>Kutsenda said that it was important to send off the rink with a proper farewell after being such a part of their adolescence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s sad because San Jose Skate’s closing is like the last nail in the scene’s coffin,” Tucker said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Maya Angelou, Poet, Activist And Singular Storyteller, Dies At 86",
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"content": "\u003cfigure id=\"attachment_10136810\" class=\"wp-caption alignleft\" style=\"max-width: 505px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/angelou2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/angelou2.jpg\" alt=\"Angelou became Hollywood’s first black female movie director on Nov. 3, 1971. She also wrote the script and music for Caged Bird, which was based on her best-selling 1969 autobiography. She had been a professional singer, dancer, writer, composer, poet, lecturer, editor and San Francisco streetcar conductor; Source: NPR\" width=\"505\" height=\"746\" class=\"size-full wp-image-10136810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/angelou2.jpg 505w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/angelou2-400x590.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/angelou2-203x300.jpg 203w\" sizes=\"(max-width: 505px) 100vw, 505px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Angelou became Hollywood’s first black female movie director on Nov. 3, 1971. She also wrote the script and music for Caged Bird, which was based on her best-selling 1969 autobiography. She had been a professional singer, dancer, writer, composer, poet, lecturer, editor and San Francisco streetcar conductor; Source: NPR\u003c/figcaption>\u003c/figure>\n\u003cp>Poet, performer and political activist Maya Angelou has died after a long illness at her home in Winston-Salem, N.C. She was 86. Born in St. Louis in 1928, Angelou grew up in a segregated society that she worked to change during the civil rights era. Angelou, who refused to speak for much of her childhood, revealed the scars of her past in \u003cem>I Know Why the Caged Bird Sings\u003c/em>, the first of a series of memoirs.\u003c/p>\n\u003cp>Growing up in St. Louis, Mo., and Stamps, Ark., she was Marguerite Johnson. It was her brother who first called her Maya, and the name stuck. Later she added the Angelou, a version of her first husband’s name.\u003c/p>\n\u003cp>Angelou left a troubled childhood and the segregated world of Arkansas behind and began a career as a dancer and singer. She toured Europe in the1950s with a production of \u003cem>Porgy and Bess\u003c/em>, studied dance with Martha Graham and performed with Alvin Ailey on television. In 1957 she recorded an album called “Calypso Lady.”\u003c/p>\n\u003cp>“I was known as Miss Calypso, and when I’d forget the lyric, I would tell the audience, ‘I seem to have forgotten the lyric. Now I will dance.’ And I would move around a bit,” she recalled with a laugh during a 2008 interview with NPR.\u003c/p>\n\u003cp>“She really believed that life was a banquet,” says Patrik Henry Bass, an editor at \u003cem>Essence Magazine\u003c/em>. When he read Angelou’s memoir \u003cem>I Know Why the Caged Bird Sings\u003c/em>, he saw parallels in his own life in a small town in North Carolina. He says everyone in the African-American community looked up to her; she was a celebrity but she was one of them. He remembers seeing her on television and hearing her speak.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When we think of her, we often think about her books, of course, and her poems,” he says. “But in the African-American community, certainly, we heard so much of her work recited, so I think about her voice. You would hear that voice, and that voice would capture a humanity, and that voice would calm you in so many ways through some of the most significant challenges.”\u003c/p>\n\u003cp>Film director John Singleton grew up in a very different part of the country. But he remembers the effect Angelou’s poem “\u003ca href=\"http://www.poets.org/viewmedia.php/prmMID/15623\" target=\"_blank\" rel=\"noopener\">Still I Rise\u003c/a>” had on him as a kid. It begins:\u003c/p>\n\u003cp>You may write me down in history\u003cbr>With your bitter, twisted lies,\u003cbr>You may trod me in the very dirt\u003cbr>But still, like dust, I’ll rise.\u003c/p>\n\u003cp>“I come from South Central Los Angeles,” he says. It’s “a place where we learn to puff up our chests to make ourselves bigger than we are because we have so many forces knocking us down — including some of our own. And so that poem … it pumps me up, you know. … It makes me feel better about myself, or at least made me feel better about myself when I was young.”\u003c/p>\n\u003cp>Singleton used Angelou’s poems in his 1993 film \u003cem>Poetic Justice\u003c/em>. Angelou also had a small part in the movie. Singleton says he thinks of Angelou as a \u003cem>griot\u003c/em> — a traditional African storyteller.\u003c/p>\n\u003cp>“We all have that one or two people in our families that just can spin a yarn, that has a whole lot to say, and holds a lot of wisdom from walking through the world and experiencing different things,” he says. “And that’s the way I see Dr. Maya Angelou. She was a contemporary of Martin Luther King, a contemporary of Malcolm X and Oprah Winfrey. She transcends so many different generations of African-American culture that have affected all of us.”\u003c/p>\n\u003cp>Joanne Braxton, a professor at the College of William and Mary, says Angelou’s willingness to reveal the sexual abuse she suffered as a child in \u003cem>I Know Why the Caged Bird Sings\u003c/em> was unprecedented at the time. The critical acclaim and popularity of the book opened doors for both African-American and female writers.\u003c/p>\n\u003cp>“Maya Angelou brought about a paradigm shift in American literature and culture,” Braxton says, “so that the works, the gifts, the talents of women writers, including women writers of color, could be brought to the foreground and appreciated. She created an audience by her stunning example.”\u003c/p>\n\u003cp>For Braxton, the world will never be quite the same without Angelou.\u003c/p>\n\u003cp>“I love her,” she says. “She’s beloved by many, including many, many people who have never met her in person, and who will never meet her in person — but she has extended herself that way, so that her touch extends beyond her physical embrace. That is truly a gift, and we are truly blessed to have known her through her presence and her work.”\u003c/p>\n\u003cp>Angelou once said she believed that “life loves the liver of it,” and she did live it, to the fullest. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Belva Davis’ 2012 \u003ci>This Week in Northern California\u003c/i> tribute to Angelou:\u003cbr>\nhttp://youtu.be/rHWuSrCU_X0\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Maya+Angelou%2C+Poet%2C+Activist+And+Singular+Storyteller%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10136810\" class=\"wp-caption alignleft\" style=\"max-width: 505px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/angelou2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/angelou2.jpg\" alt=\"Angelou became Hollywood’s first black female movie director on Nov. 3, 1971. She also wrote the script and music for Caged Bird, which was based on her best-selling 1969 autobiography. She had been a professional singer, dancer, writer, composer, poet, lecturer, editor and San Francisco streetcar conductor; Source: NPR\" width=\"505\" height=\"746\" class=\"size-full wp-image-10136810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/angelou2.jpg 505w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/angelou2-400x590.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/angelou2-203x300.jpg 203w\" sizes=\"(max-width: 505px) 100vw, 505px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Angelou became Hollywood’s first black female movie director on Nov. 3, 1971. She also wrote the script and music for Caged Bird, which was based on her best-selling 1969 autobiography. She had been a professional singer, dancer, writer, composer, poet, lecturer, editor and San Francisco streetcar conductor; Source: NPR\u003c/figcaption>\u003c/figure>\n\u003cp>Poet, performer and political activist Maya Angelou has died after a long illness at her home in Winston-Salem, N.C. She was 86. Born in St. Louis in 1928, Angelou grew up in a segregated society that she worked to change during the civil rights era. Angelou, who refused to speak for much of her childhood, revealed the scars of her past in \u003cem>I Know Why the Caged Bird Sings\u003c/em>, the first of a series of memoirs.\u003c/p>\n\u003cp>Growing up in St. Louis, Mo., and Stamps, Ark., she was Marguerite Johnson. It was her brother who first called her Maya, and the name stuck. Later she added the Angelou, a version of her first husband’s name.\u003c/p>\n\u003cp>Angelou left a troubled childhood and the segregated world of Arkansas behind and began a career as a dancer and singer. She toured Europe in the1950s with a production of \u003cem>Porgy and Bess\u003c/em>, studied dance with Martha Graham and performed with Alvin Ailey on television. In 1957 she recorded an album called “Calypso Lady.”\u003c/p>\n\u003cp>“I was known as Miss Calypso, and when I’d forget the lyric, I would tell the audience, ‘I seem to have forgotten the lyric. Now I will dance.’ And I would move around a bit,” she recalled with a laugh during a 2008 interview with NPR.\u003c/p>\n\u003cp>“She really believed that life was a banquet,” says Patrik Henry Bass, an editor at \u003cem>Essence Magazine\u003c/em>. When he read Angelou’s memoir \u003cem>I Know Why the Caged Bird Sings\u003c/em>, he saw parallels in his own life in a small town in North Carolina. He says everyone in the African-American community looked up to her; she was a celebrity but she was one of them. He remembers seeing her on television and hearing her speak.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When we think of her, we often think about her books, of course, and her poems,” he says. “But in the African-American community, certainly, we heard so much of her work recited, so I think about her voice. You would hear that voice, and that voice would capture a humanity, and that voice would calm you in so many ways through some of the most significant challenges.”\u003c/p>\n\u003cp>Film director John Singleton grew up in a very different part of the country. But he remembers the effect Angelou’s poem “\u003ca href=\"http://www.poets.org/viewmedia.php/prmMID/15623\" target=\"_blank\" rel=\"noopener\">Still I Rise\u003c/a>” had on him as a kid. It begins:\u003c/p>\n\u003cp>You may write me down in history\u003cbr>With your bitter, twisted lies,\u003cbr>You may trod me in the very dirt\u003cbr>But still, like dust, I’ll rise.\u003c/p>\n\u003cp>“I come from South Central Los Angeles,” he says. It’s “a place where we learn to puff up our chests to make ourselves bigger than we are because we have so many forces knocking us down — including some of our own. And so that poem … it pumps me up, you know. … It makes me feel better about myself, or at least made me feel better about myself when I was young.”\u003c/p>\n\u003cp>Singleton used Angelou’s poems in his 1993 film \u003cem>Poetic Justice\u003c/em>. Angelou also had a small part in the movie. Singleton says he thinks of Angelou as a \u003cem>griot\u003c/em> — a traditional African storyteller.\u003c/p>\n\u003cp>“We all have that one or two people in our families that just can spin a yarn, that has a whole lot to say, and holds a lot of wisdom from walking through the world and experiencing different things,” he says. “And that’s the way I see Dr. Maya Angelou. She was a contemporary of Martin Luther King, a contemporary of Malcolm X and Oprah Winfrey. She transcends so many different generations of African-American culture that have affected all of us.”\u003c/p>\n\u003cp>Joanne Braxton, a professor at the College of William and Mary, says Angelou’s willingness to reveal the sexual abuse she suffered as a child in \u003cem>I Know Why the Caged Bird Sings\u003c/em> was unprecedented at the time. The critical acclaim and popularity of the book opened doors for both African-American and female writers.\u003c/p>\n\u003cp>“Maya Angelou brought about a paradigm shift in American literature and culture,” Braxton says, “so that the works, the gifts, the talents of women writers, including women writers of color, could be brought to the foreground and appreciated. She created an audience by her stunning example.”\u003c/p>\n\u003cp>For Braxton, the world will never be quite the same without Angelou.\u003c/p>\n\u003cp>“I love her,” she says. “She’s beloved by many, including many, many people who have never met her in person, and who will never meet her in person — but she has extended herself that way, so that her touch extends beyond her physical embrace. That is truly a gift, and we are truly blessed to have known her through her presence and her work.”\u003c/p>\n\u003cp>Angelou once said she believed that “life loves the liver of it,” and she did live it, to the fullest. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Belva Davis’ 2012 \u003ci>This Week in Northern California\u003c/i> tribute to Angelou:\u003cbr>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rHWuSrCU_X0'\n title='//www.youtube.com/embed/rHWuSrCU_X0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Maya+Angelou%2C+Poet%2C+Activist+And+Singular+Storyteller%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco’s Intersection for the Arts Suspends Programs, Lays Off Curators",
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"content": "\u003cp>San Francisco’s Intersection for the Arts announced today that it will dramatically restructure its organization, suspend programs, and lay off key staff by the end of this month. \u003c/p>\n\u003cp>Included among those furloughed are Visual Arts Program Director Kevin B. Chen, Outreach and Community Engagement Program Director Rebeka Rodriguez, and Theatre Program Director Sean San José, as well as all communications staff. Intersection Incubator, the organization’s fiscal sponsorship program, supports 125 smaller organizations annually — it will remain intact. Intersection will continue to provide a performance platform for Incubator Program and Innovation Studio. Randy Rollison, presently Program Director Artist Resources, will assume the role of Interim Director.\u003c/p>\n\u003cp>Founded in the 1960s “as a merger of several faith-based experiments that were using art to reach disenfranchised neighborhood youth” and as a community center for conscientious objectors to the Vietnam War, Intersection for the Arts is one of San Francisco’s oldest alternative spaces. Next year will mark its 50\u003csup>th\u003c/sup> anniversary.\u003c/p>\n\u003cfigure id=\"attachment_10136597\" class=\"wp-caption alignright\" style=\"max-width: 801px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Intersection_recollection-e1400805121303.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Intersection_recollection-e1400805121303.jpg\" alt=\"Inside Intersection for the Arts \" width=\"801\" height=\"534\" class=\"size-full wp-image-10136597\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Inside Intersection for the Arts\u003c/figcaption>\u003c/figure>\n\u003cp>Intersection’s varied programs include a gallery, a literary series, a Jazz program, artist residencies, and a theatre/performance series. An incredible array of artists have participated in its programs, including Junot Diaz, Dave Eggers, Whoopi Goldberg, Joe Goode, bell hooks, Ishmael Reed and Alice Walker, among many others. Presently San Francisco artist Bernie Lubbell has a site-specific installation in the gallery, on view through June 7. \u003ci>Chasing Mehserle,\u003c/i> a new performance piece by Chinaka Hodge, jointly presented by Intersection for the Arts, Campo Santo and the Living Word Project (Youth Speaks theatre company) has performances scheduled through May 24. All current programs are slated to conclude on schedule. Summer programs will be announced in June.\u003c/p>\n\u003cp>The news of Intersections’ troubles comes at a time when many \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=134546\" target=\"_blank\" rel=\"noopener\">San Francisco arts organizations are struggling\u003c/a>, even amidst the city’s recent development boom. Community arts and education organization Root Division announced that it will need to relocate by the end of June, after receiving notice earlier this year that its rent would substantially increase. Recently Union Square non-profit Meridian Gallery was narrowly spared immediate \u003ca href=\"http://ww2.kqed.org/news/2014/04/04/meridian-gallery/\" target=\"_blank\" rel=\"noopener\">eviction\u003c/a> after its landlords demanded a year’s rent and security deposit paid in advance, totaling $100,000. According to Meridian’s website, it presently has an extended lease through June.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the years Intersection for the Arts, Root Division and Meridian Gallery have all provided extensive youth and community education programs, as well as important venues for experimental and politically provocative contemporary art. Each represents a core organization within San Francisco’s vital grassroots art community, the health of which has rapidly diminished in the last year due to shifting models for non-profit arts funding and escalating real estate values. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City.jpg\" alt=\"Intersection_Ants in the City\" width=\"720\" height=\"480\" class=\"alignright size-full wp-image-10136600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City-300x200.jpg 300w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003c/p>\n\u003cp>“With the specific shifts in the economy and culture of San Francisco, it has been increasingly difficult to operate and sustain a community-based nonprofit arts organization like Intersection,” noted Kevin B. Chen, Intersection’s visual arts curator for the last fifteen years, in a farewell email sent to members today.\u003c/p>\n\u003cp>In response to these “specific shifts” last November, the Board of Supervisors resolved to create the Working Group on Nonprofit Displacement, which was tasked to allocate funds for safeguarding the city’s cultural heritage against displacement. The board placed $2.515 million on reserve for recommendations made by the working group; earlier this year Supervisor John Avalos further amended this figure with an additional $2 million earmarked for the nonprofit arts community. Requests for proposals for a third party intermediary to manage these funds are anticipated to be released in June, with the hope that funds will start being distributed sometime in the fall. Even as the city is making an effort to support the non-profit community, it is unclear whether or not these efforts will happen soon enough at this rate to protect some of the city’s most vital arts organizations.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Below is the press release from Intersection of the Arts:\u003c/i>\u003c/p>\n\u003cblockquote>\u003cp>Dear Friends of Intersection for the Arts:\u003c/p>\n\u003cp>We are writing on behalf of the Board of Directors of Intersection for the Arts to inform you of difficult but necessary decisions that we have taken to confront fundamental challenges to the organization. For nearly 50 years, Intersection has existed as San Francisco’s oldest alternative arts space, weathering a myriad of challenges, successes and evolutionary changes. We now find ourselves at another major turning point. Our financial situation is deeply challenged, and it has become apparent that the current business model is no longer sustainable.\u003c/p>\n\u003cp>Our financial situation has always been fragile. Like many non-profit, grassroots arts organizations, it has been a perpetual struggle, dependent on “angel donors,” “heroic” leadership and unpredictable trends. The move from our long-time home in the Mission to an improved facility in SOMA was a significant effort to address this issue, but it was increasingly clear that they were not enough to build the financial foundation we need not merely to survive, but to grow and thrive.\u003c/p>\n\u003cp>Recognizing that the organization needed fundamental change to sustain its contributions to community life, the Board embarked on a deep organizational examination that led to a substantial rethinking of our role in the community and a refining of our mission.\u003c/p>\n\u003cp>As of June 1, therefore, the following changes will occur:\u003c/p>\n\u003cul>\n\u003cli>Except for a limited amount of funded projects already in the pipeline, Intersection will no longer produce its own work but will continue to provide a platform to present performances by Incubator Program and Innovation Studio members and resident artists.\u003c/li>\n\u003cli>Resident company Campo Santo will transition to a strictly fiscally sponsored project and Sean San Jose, currently Intersection’s performing arts program director, will continue to lead the company. \u003c/li>\n\u003cli>The Visual Arts, and Education and Community Engagement Programs will be put on hold.\u003c/li>\n\u003cli>Unfortunately, long-time program directors Kevin Chen, Rebeka Rodriguez and Sean San Jose will be laid off, as will a number of support staff, and various contractors will be released.\u003c/li>\n\u003cli>Randy Rollison, Program Director Artist Resources, will take on the role of Interim Executive Director.\u003c/li>\n\u003cli>The Board, staff and key Intersection stakeholders will actively engage artists, community leaders, and funders to test the programmatic elements and economic viability of this emergent platform concept.\u003c/li>\n\u003c/ul>\n\u003cp>This restructure, though painful, is necessary not only to address Intersection’s current financial situation, but to serve as a catalyst for an entirely new kind of artist and community engagement model that can sustain a healthy organization through an arts-centered entrepreneurial approach that relies on multi-disciplinary and highly collaborative partnerships in the Bay Area.\u003c/p>\n\u003cp>In the meantime, performance programs that were scheduled throughout the summer featuring the work of Incubator and Innovation Studio members will continue. And as living testament to our work in our neighborhood, community visual arts projects by Evan Bissell, Ana Teresa Fernandez, Wendy McNaughton and others are still alive and active in the streets of San Francisco.\u003c/p>\n\u003cp>Intersection’s Incubator Program, with more than 100 fiscally sponsored projects working in performance, music, visual art, community engagement, arts education, artist services and advocacy, will continue without interruption. While not as visible as our visual arts, performing arts and community engagement programs, the Incubator program has nurtured thousands of artists since it began in the 1970’s who have gone on to show work in our gallery and on our stage as well as at other regional, national and international institutions. Many current and former members have evolved into some of today’s most vital Bay Area arts organizations and play an important role in maintaining a healthy arts ecology, among them Litquake, Cutting Ball Theater, Youth Speaks, Erika Chong Shuch’s ESP Project, Felonious, Mugwumpin and StageWrite to name a few.\u003c/p>\n\u003cp>The Innovation Studio and the Community Rentals Program will also remain unchanged.\u003c/p>\n\u003cp>None of these decisions have been taken lightly, and the necessity of laying off long-time staff members and releasing key contractors is particularly painful. These are the individuals who have made significant and lasting contributions to the organization and the artistic life of the entire Bay Area. They are valued members of the Intersection family and we are grateful to them for all they have given and regret terribly the impact this will have on their lives.\u003c/p>\n\u003cp>We believe that Intersection’s long history, its impact on San Francisco artists and the arts community over the years, and its existing partnerships and programs provide a sound base for us to build a sustainable, impactful model that honors the past and looks toward a healthy and productive future. Our goal over the next few months is to craft that model and re-emerge in the fall with a new business plan that will sustain the organization’s ability to use an arts-centered approach to building engaged, inclusive, and economically and culturally vigorous communities.\u003c/p>\n\u003cp>We know that for many of you this is sudden and unexpected news. We still don’t have all the answers or details worked out but we believe we have a solid foundation upon which to rebuild the organization.\u003c/p>\n\u003cp>Of course, we can’t do this alone. We need you to be an active part of this process. We will continue to keep you informed of our progress and plans and hope to convene a public conversation in the very near future. In the meantime, we want to know what you think and invite you to email us at transition@theintersection.org and share your ideas, thoughts, memories, comments, criticism. Even better, attend one of our upcoming summer programs, and, if you want to support our work through this critical transition, please make a donation. https://donatenow.networkforgood.org/intersectionforthearts\u003c/p>\n\u003cp>Intersection has always been a community based organization and you are a vital part of that community. We hope we can look forward to your continued support, patience, and perseverance as we take these difficult but necessary actions to build a sustainable foundation for Intersection that will last another 50 years.\u003c/p>\n\u003cp>Sincerely,\u003c/p>\n\u003cp>Yancy Widmer, Chair, Board of Directors \u003c/p>\n\u003cp>Arthur Combs, Interim Executive Director\u003c/p>\n\u003c/blockquote>\n\n",
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"title": "San Francisco’s Intersection for the Arts Suspends Programs, Lays Off Curators | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s Intersection for the Arts announced today that it will dramatically restructure its organization, suspend programs, and lay off key staff by the end of this month. \u003c/p>\n\u003cp>Included among those furloughed are Visual Arts Program Director Kevin B. Chen, Outreach and Community Engagement Program Director Rebeka Rodriguez, and Theatre Program Director Sean San José, as well as all communications staff. Intersection Incubator, the organization’s fiscal sponsorship program, supports 125 smaller organizations annually — it will remain intact. Intersection will continue to provide a performance platform for Incubator Program and Innovation Studio. Randy Rollison, presently Program Director Artist Resources, will assume the role of Interim Director.\u003c/p>\n\u003cp>Founded in the 1960s “as a merger of several faith-based experiments that were using art to reach disenfranchised neighborhood youth” and as a community center for conscientious objectors to the Vietnam War, Intersection for the Arts is one of San Francisco’s oldest alternative spaces. Next year will mark its 50\u003csup>th\u003c/sup> anniversary.\u003c/p>\n\u003cfigure id=\"attachment_10136597\" class=\"wp-caption alignright\" style=\"max-width: 801px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Intersection_recollection-e1400805121303.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Intersection_recollection-e1400805121303.jpg\" alt=\"Inside Intersection for the Arts \" width=\"801\" height=\"534\" class=\"size-full wp-image-10136597\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Inside Intersection for the Arts\u003c/figcaption>\u003c/figure>\n\u003cp>Intersection’s varied programs include a gallery, a literary series, a Jazz program, artist residencies, and a theatre/performance series. An incredible array of artists have participated in its programs, including Junot Diaz, Dave Eggers, Whoopi Goldberg, Joe Goode, bell hooks, Ishmael Reed and Alice Walker, among many others. Presently San Francisco artist Bernie Lubbell has a site-specific installation in the gallery, on view through June 7. \u003ci>Chasing Mehserle,\u003c/i> a new performance piece by Chinaka Hodge, jointly presented by Intersection for the Arts, Campo Santo and the Living Word Project (Youth Speaks theatre company) has performances scheduled through May 24. All current programs are slated to conclude on schedule. Summer programs will be announced in June.\u003c/p>\n\u003cp>The news of Intersections’ troubles comes at a time when many \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=134546\" target=\"_blank\" rel=\"noopener\">San Francisco arts organizations are struggling\u003c/a>, even amidst the city’s recent development boom. Community arts and education organization Root Division announced that it will need to relocate by the end of June, after receiving notice earlier this year that its rent would substantially increase. Recently Union Square non-profit Meridian Gallery was narrowly spared immediate \u003ca href=\"http://ww2.kqed.org/news/2014/04/04/meridian-gallery/\" target=\"_blank\" rel=\"noopener\">eviction\u003c/a> after its landlords demanded a year’s rent and security deposit paid in advance, totaling $100,000. According to Meridian’s website, it presently has an extended lease through June.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the years Intersection for the Arts, Root Division and Meridian Gallery have all provided extensive youth and community education programs, as well as important venues for experimental and politically provocative contemporary art. Each represents a core organization within San Francisco’s vital grassroots art community, the health of which has rapidly diminished in the last year due to shifting models for non-profit arts funding and escalating real estate values. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City.jpg\" alt=\"Intersection_Ants in the City\" width=\"720\" height=\"480\" class=\"alignright size-full wp-image-10136600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Intersection_Ants-in-the-City-300x200.jpg 300w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003c/p>\n\u003cp>“With the specific shifts in the economy and culture of San Francisco, it has been increasingly difficult to operate and sustain a community-based nonprofit arts organization like Intersection,” noted Kevin B. Chen, Intersection’s visual arts curator for the last fifteen years, in a farewell email sent to members today.\u003c/p>\n\u003cp>In response to these “specific shifts” last November, the Board of Supervisors resolved to create the Working Group on Nonprofit Displacement, which was tasked to allocate funds for safeguarding the city’s cultural heritage against displacement. The board placed $2.515 million on reserve for recommendations made by the working group; earlier this year Supervisor John Avalos further amended this figure with an additional $2 million earmarked for the nonprofit arts community. Requests for proposals for a third party intermediary to manage these funds are anticipated to be released in June, with the hope that funds will start being distributed sometime in the fall. Even as the city is making an effort to support the non-profit community, it is unclear whether or not these efforts will happen soon enough at this rate to protect some of the city’s most vital arts organizations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Below is the press release from Intersection of the Arts:\u003c/i>\u003c/p>\n\u003cblockquote>\u003cp>Dear Friends of Intersection for the Arts:\u003c/p>\n\u003cp>We are writing on behalf of the Board of Directors of Intersection for the Arts to inform you of difficult but necessary decisions that we have taken to confront fundamental challenges to the organization. For nearly 50 years, Intersection has existed as San Francisco’s oldest alternative arts space, weathering a myriad of challenges, successes and evolutionary changes. We now find ourselves at another major turning point. Our financial situation is deeply challenged, and it has become apparent that the current business model is no longer sustainable.\u003c/p>\n\u003cp>Our financial situation has always been fragile. Like many non-profit, grassroots arts organizations, it has been a perpetual struggle, dependent on “angel donors,” “heroic” leadership and unpredictable trends. The move from our long-time home in the Mission to an improved facility in SOMA was a significant effort to address this issue, but it was increasingly clear that they were not enough to build the financial foundation we need not merely to survive, but to grow and thrive.\u003c/p>\n\u003cp>Recognizing that the organization needed fundamental change to sustain its contributions to community life, the Board embarked on a deep organizational examination that led to a substantial rethinking of our role in the community and a refining of our mission.\u003c/p>\n\u003cp>As of June 1, therefore, the following changes will occur:\u003c/p>\n\u003cul>\n\u003cli>Except for a limited amount of funded projects already in the pipeline, Intersection will no longer produce its own work but will continue to provide a platform to present performances by Incubator Program and Innovation Studio members and resident artists.\u003c/li>\n\u003cli>Resident company Campo Santo will transition to a strictly fiscally sponsored project and Sean San Jose, currently Intersection’s performing arts program director, will continue to lead the company. \u003c/li>\n\u003cli>The Visual Arts, and Education and Community Engagement Programs will be put on hold.\u003c/li>\n\u003cli>Unfortunately, long-time program directors Kevin Chen, Rebeka Rodriguez and Sean San Jose will be laid off, as will a number of support staff, and various contractors will be released.\u003c/li>\n\u003cli>Randy Rollison, Program Director Artist Resources, will take on the role of Interim Executive Director.\u003c/li>\n\u003cli>The Board, staff and key Intersection stakeholders will actively engage artists, community leaders, and funders to test the programmatic elements and economic viability of this emergent platform concept.\u003c/li>\n\u003c/ul>\n\u003cp>This restructure, though painful, is necessary not only to address Intersection’s current financial situation, but to serve as a catalyst for an entirely new kind of artist and community engagement model that can sustain a healthy organization through an arts-centered entrepreneurial approach that relies on multi-disciplinary and highly collaborative partnerships in the Bay Area.\u003c/p>\n\u003cp>In the meantime, performance programs that were scheduled throughout the summer featuring the work of Incubator and Innovation Studio members will continue. And as living testament to our work in our neighborhood, community visual arts projects by Evan Bissell, Ana Teresa Fernandez, Wendy McNaughton and others are still alive and active in the streets of San Francisco.\u003c/p>\n\u003cp>Intersection’s Incubator Program, with more than 100 fiscally sponsored projects working in performance, music, visual art, community engagement, arts education, artist services and advocacy, will continue without interruption. While not as visible as our visual arts, performing arts and community engagement programs, the Incubator program has nurtured thousands of artists since it began in the 1970’s who have gone on to show work in our gallery and on our stage as well as at other regional, national and international institutions. Many current and former members have evolved into some of today’s most vital Bay Area arts organizations and play an important role in maintaining a healthy arts ecology, among them Litquake, Cutting Ball Theater, Youth Speaks, Erika Chong Shuch’s ESP Project, Felonious, Mugwumpin and StageWrite to name a few.\u003c/p>\n\u003cp>The Innovation Studio and the Community Rentals Program will also remain unchanged.\u003c/p>\n\u003cp>None of these decisions have been taken lightly, and the necessity of laying off long-time staff members and releasing key contractors is particularly painful. These are the individuals who have made significant and lasting contributions to the organization and the artistic life of the entire Bay Area. They are valued members of the Intersection family and we are grateful to them for all they have given and regret terribly the impact this will have on their lives.\u003c/p>\n\u003cp>We believe that Intersection’s long history, its impact on San Francisco artists and the arts community over the years, and its existing partnerships and programs provide a sound base for us to build a sustainable, impactful model that honors the past and looks toward a healthy and productive future. Our goal over the next few months is to craft that model and re-emerge in the fall with a new business plan that will sustain the organization’s ability to use an arts-centered approach to building engaged, inclusive, and economically and culturally vigorous communities.\u003c/p>\n\u003cp>We know that for many of you this is sudden and unexpected news. We still don’t have all the answers or details worked out but we believe we have a solid foundation upon which to rebuild the organization.\u003c/p>\n\u003cp>Of course, we can’t do this alone. We need you to be an active part of this process. We will continue to keep you informed of our progress and plans and hope to convene a public conversation in the very near future. In the meantime, we want to know what you think and invite you to email us at transition@theintersection.org and share your ideas, thoughts, memories, comments, criticism. Even better, attend one of our upcoming summer programs, and, if you want to support our work through this critical transition, please make a donation. https://donatenow.networkforgood.org/intersectionforthearts\u003c/p>\n\u003cp>Intersection has always been a community based organization and you are a vital part of that community. We hope we can look forward to your continued support, patience, and perseverance as we take these difficult but necessary actions to build a sustainable foundation for Intersection that will last another 50 years.\u003c/p>\n\u003cp>Sincerely,\u003c/p>\n\u003cp>Yancy Widmer, Chair, Board of Directors \u003c/p>\n\u003cp>Arthur Combs, Interim Executive Director\u003c/p>\n\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Coit tower, the iconic San Francisco landmark that sits atop Telegraph Hill, houses some of our region’s most spectacular fresco murals. Commissioned as a part of President Franklin Roosevelt’s New Deal with the aim of providing paying work for artists, the murals offer a vivid glimpse of workers’ lives in factories and fields, while also capturing the chaotic edginess of street life in the tumultuous times of the Great Depression. \u003c/p>\n\u003cp>After a six-month restoration effort that required Coit Tower to close its doors to the public, the tower and its murals were reopened last week. \u003c/p>\n\u003cp>What many don’t know is that the Coit Tower murals are but one of many amazing public mural collections you can view for free around San Francisco. Download KQED’s \u003ca href=\"http://www.kqed.org/w/letsgetlost/index.html\" target=\"_blank\" rel=\"noopener\">Let’s Get Lost app\u003c/a> and see where to go to discover these treasures. Included in the app are links to videos with more information on several featured sites, including not-to-miss footage of master muralist \u003ca href=\"http://en.wikipedia.org/wiki/Diego_Rivera\" target=\"_blank\" rel=\"noopener\">Diego Rivera\u003c/a> painting his work, \u003cem>Pan American Unity\u003c/em>, which is now housed at City College of San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Coit tower, the iconic San Francisco landmark that sits atop Telegraph Hill, houses some of our region’s most spectacular fresco murals. Commissioned as a part of President Franklin Roosevelt’s New Deal with the aim of providing paying work for artists, the murals offer a vivid glimpse of workers’ lives in factories and fields, while also capturing the chaotic edginess of street life in the tumultuous times of the Great Depression. \u003c/p>\n\u003cp>After a six-month restoration effort that required Coit Tower to close its doors to the public, the tower and its murals were reopened last week. \u003c/p>\n\u003cp>What many don’t know is that the Coit Tower murals are but one of many amazing public mural collections you can view for free around San Francisco. Download KQED’s \u003ca href=\"http://www.kqed.org/w/letsgetlost/index.html\" target=\"_blank\" rel=\"noopener\">Let’s Get Lost app\u003c/a> and see where to go to discover these treasures. Included in the app are links to videos with more information on several featured sites, including not-to-miss footage of master muralist \u003ca href=\"http://en.wikipedia.org/wiki/Diego_Rivera\" target=\"_blank\" rel=\"noopener\">Diego Rivera\u003c/a> painting his work, \u003cem>Pan American Unity\u003c/em>, which is now housed at City College of San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Gordon Willis, the cinematographer behind such classic 1970s films as \u003cem>Annie Hall\u003c/em>, \u003cem>Klute\u003c/em>, \u003cem>All the President’s Men\u003c/em> and the \u003cem>Godfather\u003c/em> series, died on Sunday. He was 82.\u003c/p>\n\u003cp>“One cinematographer had established a kind of noir color look, rich in brown, amber and shadow, that was a vital force in the noir movies made in Hollywood in the 1970s,” film historian David Thomson wrote of Willis in his \u003cem>New Biographical Dictionary of Film\u003c/em>.\u003c/p>\n\u003cp>Willis won an honorary Academy Award in 2009, but never took home the prize for best cinematography. He was nominated twice, for \u003cem>The Godfather Part III\u003c/em> and \u003cem>Zelig\u003c/em>, but not for the earlier works that had established him as a giant among his peers.\u003c/p>\n\u003cp>“For a while, I really didn’t know what to do with that movie,” he said of the original \u003cem>Godfather\u003c/em> in a 2002 \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=120386781\" target=\"_blank\" rel=\"noopener\">interview\u003c/a> on NPR’s \u003cem>Fresh Air\u003c/em>. “I finally decided this should have this brassy, yellow look to it. Don’t ask me why. It just felt right.”\u003c/p>\n\u003cp>The New York native got his start working in makeup. He worked on documentaries for a motion picture unit as part of his Air Force service during the Korean War.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He shot a total of eight films for Woody Allen and was dubbed the “Prince of Darkness” by fellow cinematographer Conrad Hall for his use of shadows. (Think of the scene in Allen’s \u003cem>Manhattan\u003c/em> where he and Diane Keaton duck out of the rain into the American Museum of Natural History, or the garage scenes in \u003cem>All the President’s Men\u003c/em>.)\u003c/p>\n\u003cp>“He’s an artist,” Allen \u003ca href=\"http://www.people.com/people/archive/article/0,,20086223,00.html\" target=\"_blank\" rel=\"noopener\">told\u003c/a> \u003cem>People\u003c/em> in 1983. “He’s got a great sense of humor. He taught me a lot.”\u003c/p>\n\u003cp>Willis’ last film was \u003cem>The Devil’s Own\u003c/em> in 1997, directed by Alan J. Pakula.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I got tired of trying to get actors out of trailers, and standing in the rain,” Willis said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gordon+Willis%2C+Cinematographer+Who+Gave+Woody+Allen+Films+Their+Look%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gordon Willis, the cinematographer behind such classic 1970s films as \u003cem>Annie Hall\u003c/em>, \u003cem>Klute\u003c/em>, \u003cem>All the President’s Men\u003c/em> and the \u003cem>Godfather\u003c/em> series, died on Sunday. He was 82.\u003c/p>\n\u003cp>“One cinematographer had established a kind of noir color look, rich in brown, amber and shadow, that was a vital force in the noir movies made in Hollywood in the 1970s,” film historian David Thomson wrote of Willis in his \u003cem>New Biographical Dictionary of Film\u003c/em>.\u003c/p>\n\u003cp>Willis won an honorary Academy Award in 2009, but never took home the prize for best cinematography. He was nominated twice, for \u003cem>The Godfather Part III\u003c/em> and \u003cem>Zelig\u003c/em>, but not for the earlier works that had established him as a giant among his peers.\u003c/p>\n\u003cp>“For a while, I really didn’t know what to do with that movie,” he said of the original \u003cem>Godfather\u003c/em> in a 2002 \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=120386781\" target=\"_blank\" rel=\"noopener\">interview\u003c/a> on NPR’s \u003cem>Fresh Air\u003c/em>. “I finally decided this should have this brassy, yellow look to it. Don’t ask me why. It just felt right.”\u003c/p>\n\u003cp>The New York native got his start working in makeup. He worked on documentaries for a motion picture unit as part of his Air Force service during the Korean War.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Recall That Ice Cream Truck Song? We Have Unpleasant News For You",
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"content": "\u003cp>\u003cem>EDITOR'S NOTE: This article is about a virulently, racist song. Read no further if you wish to avoid racist imagery and slurs.\u003c/em>\u003c/p>\n\u003cp>\"[N****] Love A Watermelon Ha! Ha! Ha!\" merits the distinction of the most racist song title in America. Released in March, 1916, by Columbia Records it was written by actor Harry C. Browne and played on the familiar depiction of black people as mindless beasts of burden greedily devouring slices of watermelon.\u003c/p>\n\u003cp>I came across this gem while researching racial stereotypes. I was a bit conflicted on whether the song warranted a listen. Admittedly though, beneath my righteous indignation, I was rather curious how century-old, overt racism sounded and slightly amused by the farcical title. When I started the song, the music that tumbled from the speakers was that of the ever-recognizable jingle of the \u003ca href=\"http://www.youtube.com/watch?v=CZB6WXDuM1g\">ice cream truck\u003c/a> (For the record, not all ice cream trucks play this same song, but a great many of them do.)\u003c/p>\n\u003cp>As quickly as it began, the music paused, and this call-and-response ensued:\u003c/p>\n\u003cblockquote>\n\u003cp>Browne: \"You n******s quit throwin' them bones and come down and get your ice cream!\"\u003c/p>\n\u003cp>Black men (incredulously): \"Ice Cream?!?\"\u003c/p>\n\u003cp>Browne: \"Yes, ice cream! Colored man's ice cream: WATERMELON!!\"\u003c/p>\n\u003cp>My mouth dropped. The music immediately resumed and so did the racism. I soon realized that the ice cream truck song was forever ruined for me, especially once the chorus began:\u003c/p>\n\u003cp>N***** love a watermelon ha ha, ha ha!\u003c/p>\n\u003cp>N***** love a watermelon ha ha, ha ha!\u003c/p>\n\u003cp>For here, they're made with a half a pound of co'l\u003c/p>\n\u003cp>There's nothing like a watermelon for a hungry coon\u003c/p>\n\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=Ebh6x6Bze_0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Origin of the song\u003c/strong>\u003c/p>\n\u003cp>I wondered how such a prejudiced song could have become the anthem of ice cream and childhood summers. I learned that though Mr. Browne was fairly creative in his lyrics, the song's premise and its melody are nearly as old as America itself. As often happens with matters of race, something that is rather \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/03/23/291525991/when-vanilla-was-brown-and-how-we-came-to-see-it-as-white\">vanilla\u003c/a> in origin is coopted and sprinkled with malice along the way.\u003c/p>\n\u003cp>For his creation, Browne simply used the well-known melody of the early nineteenth-century song \"\u003ca href=\"http://www.youtube.com/watch?v=VsnZxfkkoKQ\">Turkey in the Straw\u003c/a>,\" which dates back to the even older and traditional British song \"\u003ca href=\"http://www.youtube.com/watch?v=etQ7knwsglU\">The (Old) Rose Tree\u003c/a>.\" The tune was brought to America's colonies by Scots-Irish immigrants who settled along the Appalachian Trail and added lyrics that mirrored their new lifestyle.\u003c/p>\n\u003cp>The first and natural inclination, of course, is to assume that the ice cream truck song is simply paying homage to \"Turkey in the Straw,\" but the melody reached the nation only after it was appropriated by traveling blackface minstrel shows. There is simply no divorcing the song from the dozens of decades it was almost exclusively used for coming up with new ways to ridicule, and profit from, black people.\u003c/p>\n\u003cp>\u003cstrong>Blackface minstrels steal the show\u003c/strong>\u003c/p>\n\u003cp>In the late 1820s, the music was given new lyrics that dripped with racism and titled \"\u003ca href=\"http://www.youtube.com/watch?v=C0i9XMyTw-o\">Zip Coon\u003c/a>.\" The blackface character of the same name parodied a free black man attempting to conform to white high society by dressing in fine clothes and using big words. Fifty years later in antebellum America, the character became an archetype of the black urbanite and propelled minstrel shows to the height of their popularity. Zip Coon was the city slicker counterpart to the dimwitted, rural blackface character whose name became infamous in 20th century America — Jim Crow. These two characters would often interact on stage and were the inspiration for the hugely successful Amos 'n' Andy act decades later.\u003c/p>\n\u003cp>The lyrics of \"Zip Coon\" follow the namesake through encounters with possums, playing the banjo, and courting a woman whose skin was so black that he calls her \"ol Suky blue skin.\" A century later, it was still celebrated and inspiring America's music. The recognizable melody aside, we've all sung a variation of the lyrics. The chorus goes:\u003c/p>\n\u003cblockquote>\n\u003cp>O zip a duden duden duden zip a duden day.\u003c/p>\n\u003c/blockquote>\n\u003cp>(If this sounds similar to the Academy Award winning \"\u003ca href=\"http://www.youtube.com/watch?v=LcxYwwIL5zQ\">Zip-A-Dee-Doo-Dah\u003c/a>,\" it's because that song was derived from this chorus)\u003c/p>\n\u003cp>At the turn of the twentieth century, one of the nation's \u003ca href=\"http://www.ferris.edu/htmls/news/jimcrow/index.htm\">most popular collectibles was the coon card\u003c/a> — a postcard with racist artwork, such as bug-eyed, clown-faced blacks eating watermelon. These items were essentially the racist version of trading cards and nearly ubiquitous. Browne meshed the theme of the popular coon cards with the familiar melody and voila: \"N***** Love a Watermelon Ha! Ha! Ha!\"\u003c/p>\n\u003cp>The ice cream cross-over happened concurrently. Nineteenth-century ice cream parlors played the popular minstrel songs of the day. After World War II, the advent of the automobile and the ensuing sprawl required parlors to devise a way to take their products to the customers. The ice cream truck was the solution and a music box was installed in them as a way to announce their presence in neighborhoods. Naturally, the traditional minstrel tunes of the previous century were employed to evoke the memorable parlor experience.\u003c/p>\n\u003cp>And this is the story of why our beloved ice cream truck plays blackface minstrel music that sends kids dashing into homes in a Pavlovian frenzy searching for money to buy a popsicle.\u003c/p>\n\u003cp>\u003cstrong>Race, ice cream and America\u003c/strong>\u003c/p>\n\u003cp>Here in the nation's capital, the cherry blossoms have come and gone. This means the warm weather will soon bring out the ice cream trucks, and I'll be confronted once again by its inconvenient truth. It's not new knowledge that matters of race permeate the depths of our history and infiltrate the most innocent of experiences, even the simple pleasure of ice cream (Who can forget Eddie Murphy's famous, NSFW routine about \u003ca href=\"http://www.youtube.com/watch?v=Vg-csjbwo5s\">the poor, black experience with ice cream trucks\u003c/a>?). However, when the reach of racism robs me of fond memories from my childhood, it feels intensely personal again.\u003c/p>\n\u003cp>Whenever I hear the music now, the antique voice laughing about n******s and watermelon fills my head. I can live with this, but what's to be done on the summer day when my children's eyes light up at the far-off sound of the familiar melody, and they dash in a frenzy towards me for change? Do I empower them with the history of our country or encourage the youthful exuberance induced by the ice cream truck? Is it my responsibility to foul the sweet taste of ice cream with their first taste of racism?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The answer is intellectually complex, but parental intuition provides clarity. When teeth fall out, I blame the dollar under their pillow on the tooth fairy. When presents appear overnight under the fir tree, I say Santa Claus is the culprit. And so when a song about n******s and watermelon fills the suburban air, I will smile and hand over money from my pocket. The sight of my children enjoying a Good Humor ice cream bar will fight back the racist song that lampooned black people who happened to be in good humor. The delivery of the cold hard truth can wait until another day.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Recall+That+Ice+Cream+Truck+Song%3F+We+Have+Unpleasant+News+For+You&utme=8(APIKey)9(MDA1OTI3MjQ5MDEyODUwMTE2MzM1YzNmZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>EDITOR'S NOTE: This article is about a virulently, racist song. Read no further if you wish to avoid racist imagery and slurs.\u003c/em>\u003c/p>\n\u003cp>\"[N****] Love A Watermelon Ha! Ha! Ha!\" merits the distinction of the most racist song title in America. Released in March, 1916, by Columbia Records it was written by actor Harry C. Browne and played on the familiar depiction of black people as mindless beasts of burden greedily devouring slices of watermelon.\u003c/p>\n\u003cp>I came across this gem while researching racial stereotypes. I was a bit conflicted on whether the song warranted a listen. Admittedly though, beneath my righteous indignation, I was rather curious how century-old, overt racism sounded and slightly amused by the farcical title. When I started the song, the music that tumbled from the speakers was that of the ever-recognizable jingle of the \u003ca href=\"http://www.youtube.com/watch?v=CZB6WXDuM1g\">ice cream truck\u003c/a> (For the record, not all ice cream trucks play this same song, but a great many of them do.)\u003c/p>\n\u003cp>As quickly as it began, the music paused, and this call-and-response ensued:\u003c/p>\n\u003cblockquote>\n\u003cp>Browne: \"You n******s quit throwin' them bones and come down and get your ice cream!\"\u003c/p>\n\u003cp>Black men (incredulously): \"Ice Cream?!?\"\u003c/p>\n\u003cp>Browne: \"Yes, ice cream! Colored man's ice cream: WATERMELON!!\"\u003c/p>\n\u003cp>My mouth dropped. The music immediately resumed and so did the racism. I soon realized that the ice cream truck song was forever ruined for me, especially once the chorus began:\u003c/p>\n\u003cp>N***** love a watermelon ha ha, ha ha!\u003c/p>\n\u003cp>N***** love a watermelon ha ha, ha ha!\u003c/p>\n\u003cp>For here, they're made with a half a pound of co'l\u003c/p>\n\u003cp>There's nothing like a watermelon for a hungry coon\u003c/p>\n\u003c/blockquote>\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/Ebh6x6Bze_0'\n title='//www.youtube.com/embed/Ebh6x6Bze_0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Origin of the song\u003c/strong>\u003c/p>\n\u003cp>I wondered how such a prejudiced song could have become the anthem of ice cream and childhood summers. I learned that though Mr. Browne was fairly creative in his lyrics, the song's premise and its melody are nearly as old as America itself. As often happens with matters of race, something that is rather \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/03/23/291525991/when-vanilla-was-brown-and-how-we-came-to-see-it-as-white\">vanilla\u003c/a> in origin is coopted and sprinkled with malice along the way.\u003c/p>\n\u003cp>For his creation, Browne simply used the well-known melody of the early nineteenth-century song \"\u003ca href=\"http://www.youtube.com/watch?v=VsnZxfkkoKQ\">Turkey in the Straw\u003c/a>,\" which dates back to the even older and traditional British song \"\u003ca href=\"http://www.youtube.com/watch?v=etQ7knwsglU\">The (Old) Rose Tree\u003c/a>.\" The tune was brought to America's colonies by Scots-Irish immigrants who settled along the Appalachian Trail and added lyrics that mirrored their new lifestyle.\u003c/p>\n\u003cp>The first and natural inclination, of course, is to assume that the ice cream truck song is simply paying homage to \"Turkey in the Straw,\" but the melody reached the nation only after it was appropriated by traveling blackface minstrel shows. There is simply no divorcing the song from the dozens of decades it was almost exclusively used for coming up with new ways to ridicule, and profit from, black people.\u003c/p>\n\u003cp>\u003cstrong>Blackface minstrels steal the show\u003c/strong>\u003c/p>\n\u003cp>In the late 1820s, the music was given new lyrics that dripped with racism and titled \"\u003ca href=\"http://www.youtube.com/watch?v=C0i9XMyTw-o\">Zip Coon\u003c/a>.\" The blackface character of the same name parodied a free black man attempting to conform to white high society by dressing in fine clothes and using big words. Fifty years later in antebellum America, the character became an archetype of the black urbanite and propelled minstrel shows to the height of their popularity. Zip Coon was the city slicker counterpart to the dimwitted, rural blackface character whose name became infamous in 20th century America — Jim Crow. These two characters would often interact on stage and were the inspiration for the hugely successful Amos 'n' Andy act decades later.\u003c/p>\n\u003cp>The lyrics of \"Zip Coon\" follow the namesake through encounters with possums, playing the banjo, and courting a woman whose skin was so black that he calls her \"ol Suky blue skin.\" A century later, it was still celebrated and inspiring America's music. The recognizable melody aside, we've all sung a variation of the lyrics. The chorus goes:\u003c/p>\n\u003cblockquote>\n\u003cp>O zip a duden duden duden zip a duden day.\u003c/p>\n\u003c/blockquote>\n\u003cp>(If this sounds similar to the Academy Award winning \"\u003ca href=\"http://www.youtube.com/watch?v=LcxYwwIL5zQ\">Zip-A-Dee-Doo-Dah\u003c/a>,\" it's because that song was derived from this chorus)\u003c/p>\n\u003cp>At the turn of the twentieth century, one of the nation's \u003ca href=\"http://www.ferris.edu/htmls/news/jimcrow/index.htm\">most popular collectibles was the coon card\u003c/a> — a postcard with racist artwork, such as bug-eyed, clown-faced blacks eating watermelon. These items were essentially the racist version of trading cards and nearly ubiquitous. Browne meshed the theme of the popular coon cards with the familiar melody and voila: \"N***** Love a Watermelon Ha! Ha! Ha!\"\u003c/p>\n\u003cp>The ice cream cross-over happened concurrently. Nineteenth-century ice cream parlors played the popular minstrel songs of the day. After World War II, the advent of the automobile and the ensuing sprawl required parlors to devise a way to take their products to the customers. The ice cream truck was the solution and a music box was installed in them as a way to announce their presence in neighborhoods. Naturally, the traditional minstrel tunes of the previous century were employed to evoke the memorable parlor experience.\u003c/p>\n\u003cp>And this is the story of why our beloved ice cream truck plays blackface minstrel music that sends kids dashing into homes in a Pavlovian frenzy searching for money to buy a popsicle.\u003c/p>\n\u003cp>\u003cstrong>Race, ice cream and America\u003c/strong>\u003c/p>\n\u003cp>Here in the nation's capital, the cherry blossoms have come and gone. This means the warm weather will soon bring out the ice cream trucks, and I'll be confronted once again by its inconvenient truth. It's not new knowledge that matters of race permeate the depths of our history and infiltrate the most innocent of experiences, even the simple pleasure of ice cream (Who can forget Eddie Murphy's famous, NSFW routine about \u003ca href=\"http://www.youtube.com/watch?v=Vg-csjbwo5s\">the poor, black experience with ice cream trucks\u003c/a>?). However, when the reach of racism robs me of fond memories from my childhood, it feels intensely personal again.\u003c/p>\n\u003cp>Whenever I hear the music now, the antique voice laughing about n******s and watermelon fills my head. I can live with this, but what's to be done on the summer day when my children's eyes light up at the far-off sound of the familiar melody, and they dash in a frenzy towards me for change? Do I empower them with the history of our country or encourage the youthful exuberance induced by the ice cream truck? Is it my responsibility to foul the sweet taste of ice cream with their first taste of racism?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Why Do You Stay in the Bay Area?",
"headTitle": "Why Do You Stay in the Bay Area? | KQED",
"content": "\u003cp>A recent \u003ca target=\"_self\" href=\"http://www.gallup.com/poll/168770/half-illinois-connecticut-move-elsewhere.aspx\" rel=\"noopener\">Gallup poll\u003c/a> found that 14 percent of Californians plan on moving to a new state within the next 12 months. And 34 percent of residents would \u003cem>like\u003c/em> \u003ca href=\"http://ww2.kqed.org/news/2014/05/12/why-do-you-stay-in-the-bay-area-whyistay/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/05/12/why-do-you-stay-in-the-bay-area-whyistay/\" target=\"_self\" title=\"Why Do You Stay in the Bay Area?\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cdiv>\r\n\u003cp>Tag your photos on Instagram or Twitter with #whyistay. Be sure to include which Bay Area city you live in.\u003c/p>\r\n\u003c/div>\r\n\u003cp>A recent \u003ca target=\"_self\" href=\"http://www.gallup.com/poll/168770/half-illinois-connecticut-move-elsewhere.aspx\" rel=\"noopener\">Gallup poll\u003c/a> found that 14 percent of Californians plan on moving to a new state within the next 12 months. And 34 percent of residents would \u003cem>like\u003c/em> \u003ca href=\"http://ww2.kqed.org/news/2014/05/12/why-do-you-stay-in-the-bay-area-whyistay/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"title": "Author Farley Mowat, Who Wrote 'Never Cry Wolf,' Dies At 92",
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"content": "\u003cp>Farley Mowat, the Canadian author of the nature classic \u003cem>Never Cry Wolf\u003c/em>, has died at age 92, Canadian media report.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.thestar.com/entertainment/books/2014/05/07/farley_mowat_acclaimed_canadian_author_dead_at_92.html\">The Star\u003c/a> \u003c/em>quotes Mowat’s brother, John, as saying the acclaimed writer and environmentalist died Tuesday, just a few days shy of his 93rd birthday.\u003c/p>\n\u003cp>\u003ca href=\"http://m.theglobeandmail.com/news/national/acclaimed-canadian-author-farley-mowat-dead-at-92/article18511064/?service=mobile\">\u003cem>The Globe and Mail\u003c/em> writes:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“In a 50-plus-year career as a freelance writer, he wrote more than 40 books including several memoirs, and won many prizes and honours including the Governor General’s Literary Award, the Order of Canada and several honorary degrees. Even as recently as July, 2009, Nicholas D. Kristof, an op-ed columnist for the New York Times, listed Mr. Mowat’s \u003cem>The Dog who Wouldn’t Be\u003c/em> (first published in 1957) as one of the best children’s books of all time.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Besides being a best-selling author and “one of the elder statesmen of Canadian literature,” the \u003cem>Globe and Mail\u003c/em> describes Mowat as “a trickster, a ferocious imp with a silver pen, an ardent environmentalist who opened up the idea of the North to curious southerners, a public clown who hid his shyness behind flamboyant rum-swigging and kilt-flipping, and a passionate polemicist who blurred the lines between fiction and facts to dramatize his cause. ”\u003c/p>\n\u003cp>\u003cem>The Star\u003c/em> says:\u003c/p>\n\u003cblockquote>\n\u003cp>“Mowat has never been one to back away from controversy. A 2012 Toronto Star \u003ca href=\"http://www.thestar.com/entertainment/books/2012/05/11/farley_mowats_legacy_our_supreme_storyteller.html\">profile\u003c/a> of the author of dozens of books — starting with \u003cem>People of the Deer\u003c/em>, published in 1952, to his memoirs \u003cem>Otherwise\u003c/em>, published in 2008, and \u003cem>Eastern Passage\u003c/em>in 2010 — described him as still rising at 6:30 to walk his dog, and begin his writing after breakfast with his wife of 55 years, Claire.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In his advanced years, Mowat continued to actively campaign to protect the Canadian wilderness he so loved. \u003ca href=\"http://www.cbc.ca/thecurrent/episode/2014/05/01/wifi-in-some-of-canadas-national-parks-gets-a-fuzzy-reception-from-campers/\">He was recently quoted by CBC Radio\u003c/a> voicing his opposition to extending wifi service to the country’s national parks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My thoughts can be expressed quite simply. I think it is a disastrous, quite stupid, idiotic concept, and should be eliminated immediately,” he told the Canadian Broadcast Corp.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have very strong feelings that national parks, provincial parks, any kind of parks, that are theoretically set up to provide for the protection of nature, in some form or another, should be respected absolutely and ultimately and human beings should be kept out of them as much as possible,” he said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Author+Farley+Mowat%2C+Who+Wrote+%27Never+Cry+Wolf%2C%27+Dies+At+92+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The writer of books including \u003cem>People of the Deer\u003c/em> and \u003cem>The Dog Who Wouldn't Be\u003c/em>, was also an ardent campaigner for environmental causes well into his later years.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Farley Mowat, the Canadian author of the nature classic \u003cem>Never Cry Wolf\u003c/em>, has died at age 92, Canadian media report.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.thestar.com/entertainment/books/2014/05/07/farley_mowat_acclaimed_canadian_author_dead_at_92.html\">The Star\u003c/a> \u003c/em>quotes Mowat’s brother, John, as saying the acclaimed writer and environmentalist died Tuesday, just a few days shy of his 93rd birthday.\u003c/p>\n\u003cp>\u003ca href=\"http://m.theglobeandmail.com/news/national/acclaimed-canadian-author-farley-mowat-dead-at-92/article18511064/?service=mobile\">\u003cem>The Globe and Mail\u003c/em> writes:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“In a 50-plus-year career as a freelance writer, he wrote more than 40 books including several memoirs, and won many prizes and honours including the Governor General’s Literary Award, the Order of Canada and several honorary degrees. Even as recently as July, 2009, Nicholas D. Kristof, an op-ed columnist for the New York Times, listed Mr. Mowat’s \u003cem>The Dog who Wouldn’t Be\u003c/em> (first published in 1957) as one of the best children’s books of all time.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Besides being a best-selling author and “one of the elder statesmen of Canadian literature,” the \u003cem>Globe and Mail\u003c/em> describes Mowat as “a trickster, a ferocious imp with a silver pen, an ardent environmentalist who opened up the idea of the North to curious southerners, a public clown who hid his shyness behind flamboyant rum-swigging and kilt-flipping, and a passionate polemicist who blurred the lines between fiction and facts to dramatize his cause. ”\u003c/p>\n\u003cp>\u003cem>The Star\u003c/em> says:\u003c/p>\n\u003cblockquote>\n\u003cp>“Mowat has never been one to back away from controversy. A 2012 Toronto Star \u003ca href=\"http://www.thestar.com/entertainment/books/2012/05/11/farley_mowats_legacy_our_supreme_storyteller.html\">profile\u003c/a> of the author of dozens of books — starting with \u003cem>People of the Deer\u003c/em>, published in 1952, to his memoirs \u003cem>Otherwise\u003c/em>, published in 2008, and \u003cem>Eastern Passage\u003c/em>in 2010 — described him as still rising at 6:30 to walk his dog, and begin his writing after breakfast with his wife of 55 years, Claire.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In his advanced years, Mowat continued to actively campaign to protect the Canadian wilderness he so loved. \u003ca href=\"http://www.cbc.ca/thecurrent/episode/2014/05/01/wifi-in-some-of-canadas-national-parks-gets-a-fuzzy-reception-from-campers/\">He was recently quoted by CBC Radio\u003c/a> voicing his opposition to extending wifi service to the country’s national parks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My thoughts can be expressed quite simply. I think it is a disastrous, quite stupid, idiotic concept, and should be eliminated immediately,” he told the Canadian Broadcast Corp.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have very strong feelings that national parks, provincial parks, any kind of parks, that are theoretically set up to provide for the protection of nature, in some form or another, should be respected absolutely and ultimately and human beings should be kept out of them as much as possible,” he said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Author+Farley+Mowat%2C+Who+Wrote+%27Never+Cry+Wolf%2C%27+Dies+At+92+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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